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Premier League The remarkable new Tottenham Hotspur Stadium shines in London
ILLUMINATED RIVER FOUNDATION DIRECTOR SARAH GAVENTA INTERVIEWED BIOPHILIC LIGHTING • SORAA HEALTHY REVIEWED • LAMP AWARDS • IALD LIGHTING DESIGN AWARDS
darc room @ London Design Fair
19-22 September 2019 The Old Truman Brewery • Shoreditch • London www.darcroom.com • www.londondesignfair.co.uk
Bring the lines to the forefront TRACELINE
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Traceline Traceline has reinvented linear lighting by using the latest technology to deliver the most flexible system ever created. It can be super recessed, recessed, surface or pendant mounted with the ability also to insert Yori spotlights. Built-in wireless controls and a variety of finishes and optical options. See more at reggiani.net
Six different diffusers for multiple applications: Opal, both black and white, for soft and diffuse lighting; Microprismatic, for greater visual comfort; Dark Performance UGR <16 and Dark Grid UGR <14, for high performance and to reduce the glare index; PMMA Lenses (48° and 11°), for general and grazing illumination.
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ANOLIS ARCHITECTURAL PRODUCT LINE
EMINERE
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The highest quality LED architectural and architainment fixture Eminere is designed by Robe for a wide range of exterior and interior applications. The various available lens options cover all possible uses from Flood Lighting, Wall Grazing, Wall Washing and Accent Lighting. Robeâ&#x20AC;&#x2122;s unique 18-bit colour mixing resolution ensures extra fine colour tuning as well as smooth dimming at low level intensity. The new Eminere linear range was designed in our state-of-the-art R&D facility by industry experts with over 20 years experience in the field. Our fixtures are IP 67 rated and therefore they are extensively tested to withstand extreme conditions. Available in 1, 2, 3, and 4 foot sizes (300 / 600 / 900 / 1200 mm) with RGBW or RGBA single chips as standard. Easy to control, 1 pixel per foot. Fixtures can be used for both permanent and temporary installations, including various architectural and architainment applications such as outdoor and indoor illumination of commercial buildings, hotels, offices, residences, historic buildings, assorted venues and for events, festivals and concerts.
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Chyme
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Presenting the new slim, contemporary Chyme Pendant designed and manufactured in the UK by Hacel. Offering Cylo and Accent etched design features, the Chyme is available in three lengths with a maximum size of 1050mm and delivers lumen outputs up to 1137 lumens and efficacies of 95 lm/W. Distinctive powder coat finishes establish the Chyme as an elegant choice; used as a single focal point or in a cluster arrangement to create an exceptional, artistic statement in surrounding architecture.
Our stunning Product Portfolio and Catalogue presents a dynamic range of architecturally inspired, class leading LED luminaires with superior performance. Request your high quality catalogue at marketing@hacel.co.uk or Download Now at www.hacel.co.uk/downloads
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Coralarium, Maldives by Mushroom Lighting â&#x20AC;&#x201C; 2018 Winner, Structures (Low Budget)
[d]arc awards, MC Motors, London 5 December 2019 Entries are now open for the [d]arc awards. You can enter projects and products online at www.darcawards.com. All entries will displayed online and each company that enters will receive a free profile page in the [d]arc directory. [d]arc night, the spectacular and creative awards party, will take place at MC Motors in London on 5th December 2019.
www.darcawards.com
Partners
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Hintze Hall, Natural History Museum, UK by DHA Designs â&#x20AC;&#x201C; 2018 Winner, Places (High Budget)
[d]arc awards, MC Motors, London 5 December 2019 Entries are now open for the [d]arc awards. You can enter projects and products online at www.darcawards.com. All entries will displayed online and each company that enters will receive a free profile page in the [d]arc directory. [d]arc night, the spectacular and creative awards party, will take place at MC Motors in London on 5th December 2019.
www.darcawards.com
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Skalar, Germany by Christopher Bauder and WHITEvoid, Germany â&#x20AC;&#x201C; 2018 Winner, Art (High Budget)
[d]arc awards, MC Motors, London 5 December 2019 Entries are now open for the [d]arc awards. You can enter projects and products online at www.darcawards.com. All entries will displayed online and each company that enters will receive a free profile page in the [d]arc directory. [d]arc night, the spectacular and creative awards party, will take place at MC Motors in London on 5th December 2019.
www.darcawards.com
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040 Sarah Gaventa We catch up with Sarah Gaventa, Director of the Illuminated River Foundation as phase one of the Illuminated River project is set to be unveiled this summer.
Contents
JUN/JUL 2019 022 024 026 028 036 038 110 116 130 134 138 144 146
Editorial Comment Headlines Eye Opener Spotlight Snapshot Briefing Dark Source Stories LightFair International Review David Morgan Product Review [d]arc awards Case Studies Event Diary Bucket List
049 Biophilic Design: A Trend Watch Having recently completed a research paper dedicated to the subject, Asst. Prof. Dr. Karolina Zielinska-Dabkowska looks at the role that lighting plays in biophilic design.
054 Women in Lighting Continuing our partnership with Women in Lighting, we caught up with Julia Hartmann and lightsphere to see how these women are bossing it in Switzerland.
112 Clerkenwell Design Week We take a look at some of the lighting events, installations and showrooms from Clerkenwell Design Week, held in London this May.
121 IALD Awards The IALD Lighting Design Awards returned to the Crystal Tea Rooms in Philadelphia, USA during LightFair International. We look through the amazing projects that picked up awards on the night.
132 [d]arc room Preview [d]arc room returns to Shoreditch this September as part of London Design Fair. Held in The Old Truman Brewery, we give you a sneak peek of some of the products that will be on show at the exhibition.
136 Lamp Awards The eighth Lamp Awards were held in Barcelona this in June. We take a look at the winners from this yearâ&#x20AC;&#x2122;s 500+ entries.
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MonoRai l 2
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eel uxLi ght i ng,I nc .3000Nor t hwoodsPar kwaySui t e165 F eel uxCo. , L t d.501J unggye-1i ndust r i alCompl exNowonr o311,Nowon-gu, F Nor c r oss,GA30071 TEL:678-668-7005 F ax:678-668-7006 Seoul ,Kor eaTEL:+82-70-7780-8200 F ax:+82-70-7780-8209
066 Tottenham Hotspur Stadium, UK The new Tottenham Hotspur Stadium opened earlier this year. Featuring lighting designed by BuroHappold, in collaboration with Populous, F3 Architects and Zumtobel Group, it has become the benchmark for other teams to aspire to.
Projects
JUN/JUL 2019
058 The Vessel, Gambia Dark Source founder Kerem Asfuroglu tells us all about his recent trip to Gambia, and his charity work with The Vessel UK.
080 The Lego House, Denmark The Lego House has become a landmark for not just the city of Bilund but for Denmark as a whole. Lighting designer Jesper Kongshaug tells us how he used light to showcase the exhibits inside.
092 Calgary Central Library, Canada Calgary Central Libraryâ&#x20AC;&#x2122;s lighting, designed by SMP Engineering, merges daylight and artificial lighting harmoniously throughout the natureinspired architecture.
102 Nurol Life, Turkey Turkish lighting design studio ZKLD has created a minimalist, elegant lighting scheme to complement the new Nurol Life tower complex, comfortably placing it within the wider Istanbul skyline.
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kreon
purity in light
kreon nuit, the ideal kreon light profile for residential, high end office and edgy hospitality projects. Its basic form draws minimal attention and can easily be used in combination with other kreon tools of light, creating an artistic yet responsible use of light sources in a recessed, surface mounted or suspended installation, making it a highly versatile and performing linear lighting system. kreon.com
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EDITORIAL
Front cover: Tottenham Hotspur Stadium, UK Pic: Getty Images, courtesy of Tottenham Hotspur Football & Athletic Co.
Editorial Publisher / Editor Paul James p.james@mondiale.co.uk Assistant Editor Matt Waring m.waring@mondiale.co.uk
The green, green grass... of home (or the office) is becoming ever more important in lighting design... A recent study has revealed that a two-hour dose of nature a week
significantly boosts health and wellbeing even if you simply sit and enjoy the peace. The research, published in the journal Scientific
Reports using data from a Natural England survey, is based on
Editorial Assistant Sarah Cullen s.cullen@mondiale.co.uk
interviews with 20,000 people in England about their activity in
Advertising
a quarter reported poor health and almost half said they were not
International Media Manager Jason Pennington j.pennington@mondiale.co.uk International Media 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 Zoe Willcox z.willcox@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
the previous week. Of those who spent little or no time in nature,
satisfied with their life, a standard measure of wellbeing. In contrast, just one-seventh of those who spent at least two hours in nature said their health was poor, while a third were not satisfied with their life. The physical and mental health benefits of time spent in parks,
forests or the beach are well known but for many of us living in urban areas, this is not a possibility - certainly during the working week. So how can we, as the lighting industry, help?
As Karolina Zielinska states in her article on page 49, Biophilic
Design: A Trend Watch, millions of people spend more than 90
percent of their day in enclosed spaces and typically work a five-day, 40-hour week. It’s of utmost importance to create harmonious and sustainable interior spaces to support human biology and respect plant life.
Biophilic design creates healthier spaces that support wellbeing, boost creativity, increase productivity and reduce staff absence.
Adding green areas to the built environment also reduces indoor
air pollution. Of course, we know that daylight is the best form of illumination for humans and plants alike. But when daylight in
indoor spaces is not possible, then artificial illumination is vital.
However, there is very little research and no established standards regarding this important topic. So much so that it is often left to individual lighting design practices to do their own research for
individual projects (something that Julia Hartmann at lightsphere explains on page 57).
Obviously, this is not an ideal situation so we shall be tackling this
subject at [d]arc room in London in September (www.darcroom.com)
with a discussion dedicated to the importance and requirements of
biophilic lighting. Details and registration options will be published shortly so keep an eye out for further announcements.
To subscribe visit www.arc-magazine.com or call +44 (0)161 476 5580 arc, ISSN
17535875, is published bi-monthly by Mondiale Publishing, Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Spatial Ltd is acting as our mailing agent.
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Paul James Editor
Fabio Bonanni
Apparecchio a doppia emissione con distribuzione diffusa del fascio luminoso Dual emission lighting device with diffuse distribution of the light beam
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AUGENTI LIGHTING S.R.L. Via Francesco Lana, 31 - 25065 Lumezzane (BS) Italy tel: (+39) 030 7282524 - fax: (+39) 030 7281879 - info@augentilighting.it
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PROJECTS
NEWS
Headlines Lamp Awards 2019 winners announced (Spain) – The eighth edition of the Lamp Awards, held in Barcelona, revealed the winners from more than 500 entries from around the world.
Kelvin Lighting acquired by Atrium (UK) - The acquisition gives Kelvin Lighting customers access to Atrium’s portfolio of lighting brands.
Zumtobel Group partners with Casambi for wireless lighting solutions (Austria) – The partnership will improve controllability for Zumtobel and Thorn luminaires.
TheisCraft acquire Multiload Controls
[d]arc awards 2019 open for entries (UK) – Entries for the [d]arc awards 2019 are now open, including two new categories for decorative lighting. More information at www.darcawards.com
(UK) – The acquisition will see TheisCraft develop its relationship with the architectural sector and other standalone markets.
ETC names new CEO (USA) – Dick Titus becomes the new CEO of ETC, having been President of the company for the past seventeen years.
Norka expands business activites with acquisition (Germany) – By acquiring the Traffic & Industries division of Swareflex, Norka expands its product portfolio into road and tunnel lighting.
DIAL and Relux to collaborate on uniform data format for lighting design (Europe) – The two companies wish to meet the challenges of digitalisation with an open format for import and processing purposes.
Roberta Silva appointed as CEO of Flos (Italy) – Silva takes over as CEO of Flos following the departure of Piero Gandini.
Study proves benefits of daylight LEDs
LDI win Radiance Award at IALD Awards (USA) – Lighting Design International claimed the top prize at the awards, held during this year’s LightFair International, for the Kimpton Fitzroy in London. Read more at www.arc-magazine.com
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(Worldwide) - LED light sources with a spectrum close to natural sunlight produced better visual comfort, more alertness, and happier moods.
Lumileds appoint new CEO (USA) - Dr. Jonathan Rich joins Lumileds as CEO, taking over from Mark Adams.
200CENT Tiny… Really Tiny! This LED spot has a diameter of just 26 mm, which makes it as small as a twoeuro coin. And thus, the name… 200Cent. Plus, it’s Powerful… really Powerful! The 200Cent’s light output is 750 lumens, which makes it more powerful than a traditional 50 W halogen spot (and at least 88% more economical). And all that with the best quality. The colour consistency is perfect (two-step MacAdam), so you will never see the slightest colour difference between spots. 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.
W W W. 2 0 0 C E N T. E U
Made in Belgium
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Pic: SL Gallery / Tony Long
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EYEOPENER
Elements III - Blue New York, USA As part of a wider exhibition, entitled Beckoned to Blue, examining the essence of the colour blue, Anne Katrine Senstad has created Elements III - Blue, an immersive light sculpture installation at New York’s SL Gallery. Elements III - Blue defines its environment as luminous blues envelope the fabric of our cognitive body. Made up of monochromatic squares of light defined by an inner blue spectral vertical portal centred in the space, the viewer experiences the interior and exterior light sculptures, resonating through prismatic frequencies. The immersive quality offers the viewer a dialectic between centre and horizon - the sculptural light composition enveloping them with a sense of the infinite. Senstad’s cosmology of spacetime and light beckons viewers to a matrix of horizontal and vertical expressions of blue light, evoking fractal topologies. Her interpretation of blue as a physical environment is informed as much by her curiosity about the emotional, physiological and scientific phenomena that constitute our concept of colour as it servers her lifelong desire to capture the impossible beauty and sensorial properties of colour in the abstract. Speaking of the installation, Senstad said: “Colour embodies the universal; ascending light represents the connection with the universe, while horizontal lines can remind us of the open landscape, the sea merging with the sun, perhaps internally experiences as a sensation of tranquility and eternity.” Alongside Elements III - Blue, the Beckoned to Blue exhibition features a sensory chamber installation, with a sound piece by Catherine Christer Hennix, and a set of accompanying photographic works featuring blue in an exploration of dimensionality. www.annesenstad.com
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Pics: Dan Cunningham unless stated otherwise
Light Music USA
Pic: A+A Studio
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Light Music is a recently completed immersive sculptural lobby and lounge design for a new residential apartment building in the heart of Washington DCâ&#x20AC;&#x2122;s Adams Morgan neighborhood. Designed by Armand Graham and Aaron Yassin of New York-based A+A Studio, the project takes inspiration from the rich musical legacy of the neighbourhood, and the city where musical genres such as jazz, Go-Go, punk rock, and electronic music have propelled the vibrant nightlife for decades. The goal was to ground the new building to its location and to connect the public spaces to the culture of the city and in an authentic way. The result is a unique project that combines cutting edge digital fabrication methods with traditional artisanal techniques to create an interior world with its own pulse and rhythm that pays homage to the vibrant original music of DC. The space is divided into an entrance lobby and a rear lounge linked by a wide corridor, and the design challenge was to develop two connected yet distinct spaces. The lobby, which is seen from the street, required a strong visual statement while the lounge needed to be
inviting with its own mood and vibe. In the lobby, light is used as a sculptural material to interpret music and shape the experience of architecture. To do this A+A Studio custom fabricated 23 LED backlit panels using the score of Duke Ellington songs, visualised similarly to the patterns on player piano rolls, and then CNC milled into aluminium composite sheets. These stretch from the floor to the ceiling in the lobby and all the way down the ceiling of the corridor. The surface of the panels is hand gilded with aluminium leaf and the holes covered with translucent acrylic. Light glows through the panels and creates a three-dimensional aura that glistens on the surface of the aluminium leaf, producing mysterious luminescent light forms. The patterns also reflect on a mirrored tile wall, shaping a syncopated rhythm that dances and shimmers across the space. The combination of computer-driven production with hand-applied techniques creates an intriguing techno and retro feel. The lobby lighting fixtures were provided by EcoSense, with A+A Studio utilising the Slim Cove Dim behind the light panels, and
SPOTLIGHT
the Linear Trov to wash the relief wall panels. The fixtures are controlled by a programmable Crestron zoned dimming system. There are twelve different zones, and each has three scenes set at different light levels: day, evening and night. A photocell in the front of the lobby also reads daylight, and adjusts the light in the lobby based on the intensity of natural light in the space. Light Paintings, a unique series of LED wall sconces created by A+A Studio, are conceived as both minimal geometric relief sculptures and paintings made with light. Each sconce is a single plane measuring 18x18 inches and made with material simplicity - solid walnut, polished stainless steel and brass precisely cut to create a dynamic figure/ground relationship. Full height CNC milled composite panels, which run from the building entrance down the long corridor and cover all of the lounge walls, unite the two spaces. The design is a topography of interlocking organic shapes that expand across the surface, producing a sculptural experience. Light washes down across the bas-relief creating an interplay of highlights and shadows that dance and bounce off the surfaces to form a chamber-oflight. It envelops you as you walk into the lounge, where the mood is defined by the sculptural relief. Adding to this is an intricate 10-foot tall sculptural Corian screen that separates a communal table from a chic seating area, as well as reverse hand gilded inset glass mirrors. The push and pull of the two and three-dimensional forms and surfaces create a rhythmic and visually rich environment that imagines what a musical score can look like, giving life to a resident lounge like no other. www.aplusa.studio
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SPOTLIGHT
Pics: cepezed / Lucas van der Wee
Tilburg Bus Station Netherlands A new bus station has recently opened in the Dutch city of Tilburg. Designed by cepezed architects, the new public transport facility features a thoroughly integrated design and generates its own energy. Part of the large-scale revitalisation of the Tilburg public transport hub, the new bus station is fully tailored to the comfort of travellers and to a clear and pleasant traffic flow. The facility is situated on the west side of Tilburg Train Station, also designed by cepezed architects. Consisting of a series of thin columns with an evenly minimalistic awning structure on top of them, the construction forms a triangular 160-metre-long circuit with an open space in the centre and the bus positions arranged around the outer side: six for boarding and one for deboarding. The awning circulation runs from fourteen to 30 metres in width, and has two offsets in its contour. These are primarily functional and align with the wider urban context, but visually, they also resonate elegantly with the monumental roof structure of the adjacent train station. The structure consists of a steel framework covered with ETFE-foil. The lighting, designed by Dutch firm Atelier Lek, is fitted above this foil. During the day, the awning filters the sunlight, while after dark, it becomes one large and spacious lighting element that strongly adds to the feeling of security. The lighting was designed by Atelier Lek to be reactive to passersby underneath, but in segments, which makes the experience much more subtle and localised, reducing the impact on the station’s surroundings and also on energy consumption.
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250sqm of solar panels lie atop the awning; in strong daylight, these cast a shadow pattern, making those underneath aware of their presence. The panels supply sufficient energy for all functionalities of the bus station, including the lighting of the awning, the digital information signs, the staff canteen and the public transport service point. After dark, Norka’s Bern LED illuminated the canvas roof, while Corlight LH31 modules are integrated into the profiles. Additional illumination is provided by EMVA’s Patnos inground luminaires, while iGuzzini’s Laser Blade downlights have been recessed into the ceiling interior. Based on considerations regarding aesthetics as well as comfort, functionality and the use of materials, a lot of attention was paid to a setup, materialisation and detailing that is as elementary as possible. The architects conceived a clear system for the bus station and engineered it meticulously. For example, the thin columns composed of steel plates and strips also contain water drainage and electric cabling; the folded sheet steel that functions as the central loadbearing stability beam also functions as a gutter, and the lighting of the terrace adjoining the pavilion is integrated into the beams spanning the awning structure at that point. Movement sensors have also been integrated into the steel edge of the awning every fourteen metres. These respond to the presence of buses and people, so that the lighting is sufficient in every situation, while the use of energy is kept to a minimum. www.atelierlek.nl www.cepezed.com
2019 Project of the Year: RICS Awards, London
London Awards Winner 2019 Photographer: Alan Williams. Image courtesy of Westminster Abbey
The Queenâ&#x20AC;&#x2122;s Diamond Jubilee Galleries at Westminster Abbey TiMi 007, 5000K used to replicate daylight through stained glass window display
SPOTLIGHT
Pics: James Turrell/Florian Holzherr
Skyspace Lech Austria Renowned light artist James Turrell has added to his extensive portfolio of installations with Skyspace Lech, a new piece that blends discreetly into the high-alpine landscape of the Arlberg mountains in western Austria. From the outside, it appears as little more than an elliptical dome, and a similarly rounded construction of natural stone. However, below these unassuming features is an oval light room with an opening in the ceiling, offering a unique view of the sky and in essence, helping to bring the heavens closer to the observer. Since the 1960s, Turrell has consistently crafted installations that provide sensory and spiritual experiences through a subtle interplay between natural and artificial light, materiality, surface, colour and space. The impressive effect of Turrell’s light-poetic contemporary art can be experienced once more with Skyspace Lech, nestled between hiking trails, alpine passes and stunning mountains. Created through the initiative of the Horizon Field society, an organisation that promotes cultural projects in the county of Vorarlberg, the installation is accessed by an underground tunnel that has been carefully aligned to deliver dramatic views of the imposing Biberkopf peak, before finally opening out into the light space itself. As the sun resides behind the Biberkopf on the summer solstice, the first rays of sunshine reach the so-called ‘Sensing Room’, where elliptical openings carved into the ceiling offer stunning views of the Arlberg sky. In order to guide the sensory perception of visitors even more
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intensively, Turrell has flooded the subterranean building in a changing series of bright light colours. A unique feature of the Skyspace Lech is the integration of another key concept associated with the light and spatial artist - the ‘Ganzfeldraum’, which really takes effect when the dome is closed. This ‘Ganzfeld’ or ‘fullfield’ approach to light art from Turrell involves a completely featureless, evenly flooded field of vision that provides no orientation due to its perfect homogeneity. The lighting, provided by Zumtobel, long-standing lighting partner of Turrell, features an Amber LED strip with RGB colour changing function and a tunableWhite stripe, and was programmed in advance in close coordination with the artist. The installation is regulated by a Luxmate DMX controls system, while opal diffusers have been chosen to make the lighting transition from the beginning of the passageway to the actual Skyspace room as gentle as possible. “Light is so much more than just lighting. It influences our feelings, our thoughts and our actions,” said Karin Zumtobel, Head of Culture & Arts at Zumtobel Group. “It is therefore very important for us to show people what light can really do - beyond the familiar applications. James Turrell’s art puts light in a very poetic and sensory context, and makes observers somehow feel with their eyes.” www.jamesturrell.com
SPOTLIGHT
Pics: Mariell Lind Hansen
Otherworld UK Otherworld is a unique virtual reality arcade from The Dream Corporation, designed by London-based architectural practice Red Deer. Located within a converted railway arch in East London, the 265sqm space is the first of its kind in the UK. A multi-sensory, immersive entertainment and leisure concept, it hosts fourteen virtual reality immersion rooms, alongside a craft beer and cocktail bar, and a panpacific inspired ‘Poké Kitchen’. Upon entering Otherworld, visitors are taken on an experiential journey orchestrated by Red Deer that begins with a neon jungle. This element of playful architecture is designed to add life to the environment and provoke a sense of anticipation for guests as they approach the heart of the main space. Once through the jungle, guests find themselves in a Tron-esque industrial landscape designed to break down the perception of reality, seamlessly combining the guests’ interactive journey from the real world to the Otherworld, with the spatial design, before users surpass the virtual threshold. For the interior concept, Red Deer approached the main space as if it were a gallery, taking influence from artists Dan Flavin and James Turrell, both of whom explore the altered perception of architecture through a combination of natural and artificial lighting. While designing the lighting for the space, Red Deer, in collaboration with VoodooVision, channelled this approach and attempted to break down the perception of reality through lighting, even prior to customers stepping into the virtual world. “The idea was to alter ones perception upon entering the space as a prerequisite to entering the virtual world. We felt that breaking down one’s perception in the real world was a suitable approach for the design ethos of the arcade,” said Lucas Che Tizard, Founding Director and Lead Architect at Red Deer. The craft beer and cocktail bar is constructed from Krion and sits opposite a lounge area for up to sixteen people with a self-service beer tap. The bar design forms the focal point of the design, incorporating
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exposed neon lighting along the bar front. This is the only direct lighting used in the space, with other lighting providing soft fades throughout. “At Otherworld, the physical design was intentionally paired back and made as minimal as possible to allow the light to form the main element of the interior,” Tizard continued. “By using fading colours to breakdown corners, angles and forms and direct lighting to accentuate them, ones awareness of the space is toyed with. In some instances this is very subtle, like the fades on the arched ceiling, or severe, like the exposed neon strips on the bar front.” Lucas Edwards, Creative Director at VoodooVision added: “We wanted to offer something more immersive and controllable than static items such as glass neon and fluorescent tubes. We opted to go for a bespoke installation of individually addressable LEDs, controlled and mapped centrally via Madrix software. Where we wanted neon, we used the LED equivalent so it could also be easily colour controlled in the venue’s pixel map. “All of the pixel hardware is from Enttec. We’re running 23 of their 130W Pixel Ports and a few hundred metres of their LED tape. This allowed us to make custom runs for the venue uplighting and pod skirting, as well as bespoke tubes for the bar front that mimic fluorescent tubes.” Sitting upon a raised platform are fourteen VR immersion rooms. The custom-built booths are the only ones in the world that dynamically integrate extra-sensory effects into the VR experience. Heat, wind, rumble and scent respond dynamically to the users experience, stimulating all of the senses. Tizard added: “We wanted to create an immersive space suited to a wider demographic than those normally associated with the stereotypical carpeted games arcades from the 1980s. By keeping the space minimal it made the lighting and hue soft, which fades the focal point of the project and gives the feeling of a futuristic environment.” www.reddeer.co.uk www.voodoovision.co.uk
Eggboard
Pierpaolo Ferrari, 2018
Progetto CMR - Giacobone & Roj
106 Great Russell Street, London WC1B 3NB Tel. 020 7631 5200 info@artemide.co.uk
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JACK BE NIMBLE Across Berlin-based jack be nimble’s portfolio, the firm synthesises the demands of users, space and environment by reflecting function, aesthetics and wellbeing, and combining experience in architecture, interior design and education with a focus on humancentred design to produce holistic solutions with perceptibly strong lighting and spatial concepts. Getränke Hoffmann Potsdam, Germany A historic brewery was transformed into a flagship store for Germany’s largest beverage distributor. The lighting scheme highlights architectural features and the varied product range to create an inspiring drinks emporium for shopping and events. The vaulted ceilings of a typical wine cellar are invoked with oversized curved wooden ceiling panels washed in gradients from custom linear elements. The pleasant and inviting atmosphere from these indirect sources is punctuated by brilliant directional light sources in the display and sales areas. Additional integrated lighting in the shelving units draws attention to collection items from the inventory.
Pics: Guido Leifhelm
Trilux HQ Cologne, Germany
Pics: Christoph Meinschäfer
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Can the spirit of a company be captured in architecture? The headquarters of lighting manufacturers Trilux, located in a prestigious building on the outskirts of Cologne has been created in collaboration with Graft Architects, demonstrating a balanced approach to functionality and design, light and architecture. Bright work areas intermix with open spaces, ideal for a modern and cooperative approach to working. Responding to this flexibility presented a challenge for the lighting design, which combines concepts from networking, intelligent lighting, Human Centric Lighting and predictive maintenance. Visitors can also view the broad range of products in a dedicated interactive exhibition space showcasing future lighting trends with tangible lighting solutions.
SNAPSHOT
Installation Postfuhramt Berlin, Germany The light installation in the main entrance of the Berlin Postfuhramt amplifies contrasts to enable the story of the building’s next chapter to be told. The web of strings is constructed geometrically and doused in black light, the lines appearing as lasers, ephemeral but exact. The interlocked pattern suggests a 2D covering, reminiscent of the scaffolding used during extensive heritage renovations. A glowing star is positioned behind this web, piercing through along one point and highlighting the structural elements of the archway and façade. The pulsing is reminiscent of a heartbeat, a not to the international medical company headquartered here.
Pics: Tomek Kwiatosz
Canteen Arnsberg, Germany The lighting scheme of this canteen space emphasises various functional areas using different combinations of lighting qualities. Large backlit forest scenes mix different white tones according to the principles of Human Centric Lighting, injecting a dynamic sense of nature to the guest experience. Directed light is used on the dining tables to achieve a dramatic atmosphere. Pendants suspended from tracks enable a flexible positioning of light points in response to seasonal arrangements. A touch of elegance is provided in the seating areas with decorative lighting and a modular light sculpture displaying dynamic light patterns.
jack be nimble
Pics: Christoph Meinschäfer
Light is the silent protagonist of our perception, the dominant medium of our lives. At the interface of design, technology and space, jack be nimble shapes light, delivering creative and effective lighting solutions to clients worldwide. Founded in 2013 in Berlin, partners Lance Hollman and Sophia Klees, together with the JBN team, offer independent advice for lighting, design and innovation throughout the building lifecycle. The philosophy of the practice is embedded in the name: ‘jack’ represents the client and user, whose needs are the focus of every design decision; ‘be’ embodies ideas with conviction; and ‘nimble’ captures the flexible and interdisciplinary approach used by the team. www.jackbenimble.de
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BRIEFING
Ulysse Dormoy Atrium recently announced the acquisition of Scottish lighting distributors Kelvin Lighting. Following the announcement, arc spoke to Atrium’s Managing Director Ulysse Dormoy about the move, and what the future holds for both brands going forward. How did you get into lighting? As with quite a number of people in the industry I fell into lighting. I didn’t use my time at school to any great effect and left at the age of 17 without a clear idea of what I wanted to do. As a way of keeping me busy, my parents gave me a job at our warehouse. I moved into sales, at a time when the business at the time was predominantly a furniture business with a bit of lighting. Around 1990 we were introduced to Modular Lighting Instruments by Arnold Chan, and I was given the opportunity to look after and develop the lighting side of the business. Atrium was founded by your father Patrick in 1976, how has the company grown and developed in the 43 years since then? I have been very lucky to have been able to move into an existing structure, I’m not sure I would have had the drive/courage to set something up as my father did back in 1976. Back then the business was set up in the basement of our house in Harrogate, selling highend design-led furniture and lighting to retailers. The business moved to Harpenden in 1981 and then opened a showroom at Centrepoint in Central London in 1986, and at that point the business had a retail face of it’s own. We started working more actively with architects and designers on commercial projects around that time and then shifted to an entirely specification-led business in the late ‘90s. Atrium went through another big shift in 2005 when we became solely focused on lighting. We can hardly say that we have experienced meteoric growth, however we now employ a fantastic team of 61 people (including the Kelvin Lighting team) and have a combined turnover of around £16m. What would you say is Atrium’s ‘Mission Statement’? Do you have an overriding approach or philosophy that you try to implement? Our mission since we shifted to being a lighting only business has been to enhance our clients’ projects through the application of artificial light, consistently adding value by delivering outstanding levels of service and support at every stage of their projects. I’m not so bold as to suggest we always get it right, or in fact that we have reached the objective of this mission statement, but we continuously strive to reach it. When Atrium was founded we chose to work with and represent the very best brands and products, today we continue to follow this path, and as we’ve progressed into the world of digital lighting we’ve actively sought to carefully select the components we work with, taking into consideration the quality of light across a system. You can have the best-designed fixture, combined with the best LED, yet if the supplied driver isn’t of sufficiently quality it will affect the entire system. As a business we want to be consistently associated with delivering quality components, but that does not mean that we are not competitive. We have to be in a world where we are challenged with ‘Value Engineering’ on a daily basis. You have recently acquired Scottish lighting distributor Kelvin Lighting. How did this opportunity arise? I first met Scott Kelly in 2005, he’d just returned from Australia and we employed him for just under a year and a half. Scott has an incredible energy, and some might say he is a bit ‘Marmite’, however we always got
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on together and we’ve remained friends ever since. From the middle of 2016 through to the middle of 2018 the wind had been taken out of my sails after the result of the EU Referendum. It’s fair to say that it was not the outcome I was hoping for; life in the lighting industry was not about to get any easier. It took until the third quarter of 2018 for me to snap out of it and start re-focusing on where we needed to be as a business. The starting point was to consider Atrium’s implied job description and whether we were truly fulfilling it. I came to the conclusion that we were not meeting the full extent of the objectives set within this description. One part of the jigsaw that was missing was our lack of coverage in Scotland. The obvious starting point was to start the dialogue with Scott and see if there was a mutual interest. Scott and I are very different people on the outside, however we are both ambitious in our own ways and I believe that we share similar values and a very similar drive with compatible and complimentary views on business. What do you hope to achieve with the acquisition? What benefits will this bring both to Atrium and to Kelvin? The acquisition of Kelvin Lighting helps Atrium to fulfil its notional job description as the UK distributor for the brands we represent and of course our aim is to help Kelvin Lighting grow. We will be supporting them with our IT backbone, processes, and HR structures and there will also be benefits from being part of a larger corporate entity. Will Kelvin Lighting continue to operate as a standalone business, or will it be integrated into Atrium? Will Kelvin Lighting’s brands be incorporated into the Atrium portfolio? Kelvin Lighting is now a subsidiary of Atrium and we do not have any plans to absorb them into Atrium, they will continue to operate as a standalone business. For Kelvin Lighting’s clients it is business as usual. There is no immediate view to integrate Kelvin Lighting’s brands into the Atrium portfolio. Brands may not compete in a physical sense, in terms of product portfolios etc., however time is a very limited resource and the more brands there are the less airtime each brand gets, and the objective is not to dilute our focus. Can we expect any more acquisitions from Atrium in the future? Scott and I have discussed the possibility of driving future growth through future acquisitions but there is nothing on the horizon at the moment. The priority for us is to focus on the cultural integration of both of our businesses, but who knows what the future might hold. What do you think the future holds for the lighting industry? We’ve seen a significant shift in the lighting industry over the last 5-7 years in a technological sense, yet I don’t think we’ve scratched the surface of the digital world yet, whether we like it or not the industry is becoming intrinsically linked to the ‘tech sector’. The pace of development and change increases every year, and who knows where the end goal is. Maybe sci-fi has some clues for us! www.atrium.ltd.uk www.kelvinlighting.co.uk
LED pendant luminaire downlights – the specialist for a variety of lighting requirements in large spaces. In addition to the soft unshielded light component, the luminaires also feature individually controllable downlights and uplights. The luminaires are DALI controllable and optionally available in an RGBW version. BEGA Lighting UK Ltd · Suite 9 · Milton Heath House · Westcott Road Dorking · Surrey · RH4 3NB · UK · Tel. No. +44 (0) 1306 882 098 info-uk@bega.com · www.bega.com
Das gute Licht. For larger-than-life spaces.
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Pics: Illuminated River/Leo Villareal Studio
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INTERVIEW
Light For The Many As phase one of the Illuminated River project is set to be unveiled, we met up with Sarah Gaventa, Director of the Illuminated River Foundation, to chat about the project, and the importance of quality public realm lighting.
A
fter more than two years of planning, the first phase of the Illuminated River project - an initiative that will see up to fifteen bridges
along the River Thames adorned with new light installations - will be unveiled this summer. Featuring artwork by renowned artist Leo
Villareal, the project will become the longest
public art installation in the world once complete, with the aim to
“use light art to reconnect people to the bridges and their histories, and to celebrate their role in London”.
Leading the project is Sarah Gaventa, Director of the Illuminated River Foundation. Before joining Illuminated River, Gaventa was previously the UK government’s advisor on public space at the
Commission for Architecture in the Built Environment (CABE),
working as Director of CABE Space - the public realm element of the commission - for four years.
Prior to this, she was trained as an art design historian, getting her Masters at London’s Royal College of Art, and has a background curating shows and exhibitions on public art.
Having experience in both the art world and the public realm means that Gaventa is ideally placed for the Illuminated River project, as she says: “This job seemed right for me, in that its about trying to do something that is about bringing that marriage of art and
architecture, and it’s something that is for the public benefit as well.”
Despite not coming from a lighting background, Gaventa is readily
aware of the importance that light plays in creating a pleasant public
space, thanks to her work with CABE. “I’m no expert, but I’ve always had an appreciation for it,” she said.
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Interview
“CABE gives a lot of advice for how one were to design a public realm,
“So when you take the time to look, you realise what a patchwork
research and guidance, and light obviously has a massive impact on
authorities are now trying to do, and there hasn’t been much
“So there was always an element about finding the right kind of
are separate local authorities all the way along, and they don’t
light is a psychological aspect in terms of how it makes people
middle of a bridge and you look north, then you look south, the
important, was always an element within the wider scope of what we
uncoordinated and disparate.”
them people-friendly.”
more unified lighting scheme across the Thames, Gaventa says that
ensure that the project did more than just illuminate the bridges, but
product of it. “It’s one of those things that once you start getting into
“I knew that when we did this project, there was absolutely no point
to do the other, and this seemed like the most intelligent, thorough
thinking about the quality of the lighting environment along the
“There’s nothing worse than when you go and see one project, and
“We’ve walked both the south and north bank with the lighting
other’, so a lot of it is about the dialogue, about discovering what’s
been very supportive, and just looked at the light levels, the light
“The only local authority with a public lighting strategy in London
light levels of our artwork - to try and get some kind of continuity,
a result of Illuminated River, there will be more thought about
public, and that they’re not going from light to dark to over-bright
Thames.”
To back up this approach, Gaventa and the Illuminated River team
is responsible for coordinating the team, from the consultants and
river, analysing and looking at where all the light is coming from that
architects Lifschutz Davidson Sandilands - as well as putting in place
attention,” she said. “Walking with the lighting team of Southwark,
a reality.
temperature.
- something made all the more difficult because of the number of
and obviously lighting is a key part of that. We used to produce
it is and that really, it needs a bit more coordination, which local
how people feel about a place.
coordination for example between the north and south bank. They
light that encourages people to use a space. Understanding how
talk to each other about their lighting strategies. If you’re in the
feel, understanding the role and significance of light, which is so
environment you’ll see in terms of the way it is lit will be completely
did when trying to improve our streets and public spaces and making
However, while the Illuminated River project will no doubt create a
Taking a similar approach for Illuminated River, Gaventa was keen to
this was not a direct aim for the project, but instead a happy by-
to improve the surrounding areas as well.
this project, you realise that if you’re going to do one thing, you need
in just concentrating on where the light went on the bridges and not
way of doing it,” she said.
river,” she said.
there’s another next to it and you think ‘well they didn’t talk to each
teams of both Southwark and City of London, who have both
possible.
temperatures - which are quite interestingly much higher than the
is the City of London, nobody else has one. And I do hope that as
not in colour terms, but so that there’s a quality environment for the
that, and that there is a more coherent lighting strategy along the
spaces.”
In her role as Director of the Illuminated River Foundation, Gaventa
conducted the first illuminance study of Central London along the
the support staff to the winning design team - Leo Villareal and
is not needed. “I suppose in a way our project is focusing people’s
a timeline, budgets, and everything else needed to make the project
we realised that every third lamp was out, or it was a different colour
This also included the extensive planning and consultation process
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interview
“It’s about using light to reveal the beauty of what’s already there.” Sarah Gaventa
local authorities involved. “Last year we received 30
the bridges had been floating around for some
consents, delivered a programme of community
Rothschild was Chair at Somerset House, he asked
important part of it, making sure that we’re not
Bridge. So this idea that had been floating around
trying to reduce all the light spill that there
Mayor was looking for something, and it came from
planning applications and eighteen listed building consultation, which has been an incredibly
doing anything that’s bad for the environment, currently is, reduce the light levels and energy consumption - it’s been quite a slog!
time,” she said. “Nearly 20 years ago, when Lord
James Turrell to come up with a scheme for Waterloo for a long time suddenly found its moment with the that.”
The designs for the project see Villareal and
“And then we’ve been working with seven different
Lifschutz Davidson Sandilands create a unified,
single planning application outside of Crossrail
something that Gaventa was very keen on: “They’ve
I think I must have had 24 pre-app meetings too.
a continuity between each of the bridges, whereas
local authorities - apparently we did the biggest
and Tideway, and they both had acts of parliament.
consistent scheme across the fifteen bridges,
put together a very compelling proposal, which has
So it’s quite hard to do a pan-London project when
some of the other entries had completely different
have to approach each separately.”
“We wanted something that felt curated, that there
there are so many different boroughs because you A huge boost in this process was the support of
the Mayor of London’s office, something Gaventa
schemes with no coherence,” she said.
was a synergy between because currently, all of
the bridges that are lit have no relationship with
believed was “crucial” for its acceptance with local
each other, in terms of the way that they’re lit, how
The idea for the project, Gaventa said, came from the
The winning designs were chosen by a jury after
authorities.
Lord Rothschild, and was supported by the Greater London Authority (GLA) as they sought a cultural
legacy project following on from the 2012 Olympics that spread across the city.
“An art-based project that would be seen by a lot of
Londoners is quite a big ask, but the idea of lighting
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they’re used or the approach that they’ve taken.” more than 100 entries were submitted. However, while Mark Major was involved in the technical
panel, the project came under criticism from some in the lighting community due to a lack of lighting
professionals on the jury, something that Gaventa
puts down to the fact that “every lighting designer
Previous Page A rendering of Southwark Bridge Top A rendering of Millenium Bridge Above Left A rendering of Cannon Street Bridge Above Right A rendering of the completed Illuminated River project. Once finished, the scheme will illuminate fifteen bridges along the Thames, stretching from Tower Bridge to Albert Bridge.
in Britain went in for the competition, so it
their responsibility, and it’s obviously a high
further strengthened with the Illuminated
on the jury!”
The collaboration with Signify extends
“For me, public spaces are the only
wouldn’t have worked very well if they were Following the selection of Villareal and
Lifschutz Davidson Sandilands, Illuminated
River has been working closely with the ILP, getting young graduates involved with the
project, while Atelier Ten are also on board, providing lighting engineering and design expertise.
The project has also collaborated with official connected lighting supplier Signify to create the Illuminated River apprenticeship - an initiative that will invite students to work
with both Signify and the Illuminated Rivers team over the course of two years.
Indeed Gaventa was full of praise for the role
that Signify has played in the project, stating
that it is “more than just a supplier, they’re a partner. They’ve gone above and beyond”. “They’ve been really good partners for us,
and they’ve worked with us from day one. We have fortnightly project team meetings and they’re always at those as well, with whole
day planning meetings. They’re more than a supplier, they’re on site with us because it’s
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profile project for them as well.”
beyond the provision of lighting products too. Illuminated Rivers is working with Signify on an app that allows them to
look across social media and find out not only what people are saying about the
installations, but also to see where viewers are taking photos. “This helps us to see
where people are standing, and whether these spaces are appropriate in terms of
how well they’re lit and whether they’re accessible,” Gaventa explained.
“Leo [Villareal] did something similar for his Bay Lights scheme in San Francisco. They collected similar data and found that the
favourite place to take the best photograph
of the artwork was actually a car park, so that eventually got transformed into a piece of public realm with a café.”
Throughout her career, Gaventa has shown a
strong passion for public realm regeneration, for improving the quality of our living
environment and creating spaces for the
public to enjoy, and this passion has been
Rivers project.
democratic spaces we have left,” she said. “It doesn’t matter what income you have,
what background you’re from, we’re all equal in a public space and they’re also vital for our mental wellbeing and health.
“I always think of a Ruskin quote that says
‘The measure of any great civilisation is its
cities and a measure of a city’s greatness is
to be found in the quality of its public spaces, its parks and squares’, and I think doing a project like this is another way of saying
that we’re investing in people and giving
something to the many rather than to the few.
“I’m also very keen on public art. The
exhibition that I curated at Historic England looked at post-war public art. This was in
the days when they’d build social housing
estates and put a Henry Moore in it because
it was felt that every person deserved to have the best quality experience of art, so for me this is another way of saying so.”
Gaventa added that she is hopeful that the
INTERVIEW
“For me, public spaces are the only democratic spaces we have left. It doesn’t matter what income you are, what background you have, we’re all equal in a public space, and they’re vital for our wellbeing and health.” Sarah Gaventa
new installations will attract more visitors of all
the project. As soon as I realised it was more than
locals see the beautiful architecture that is already
I was much more interested in it.
ages to the Thames, while it might make some on their doorsteps in a whole new light.
“We have some data that says that younger people don’t see the Thames as an attraction or as a place to go. And we think that by bringing something as interesting as these artworks and light sculptures
to the river, that would encourage younger people to use it.
“This is one of the wonderful things about light, if it encourages people to come, and if it encourages
people to walk across bridges that they might have otherwise got a taxi or a bus over.
“When you walk across London Bridge, everyone has their heads down. They’re looking at their
screens or they’re looking at the ground. If this
makes a few people stop on their evening commute and just look at this amazing public space and
look at the light sculptures - if it gives people this
pause, that’s one of the things that light can do, it can give you a moment out of your busy day.
“I think with light we can reclaim the bridges, and if we can encourage people to enjoy them, then they have some of the best views of the city.
“This was one of the things that attracted me to
just an art project, that it had some public benefits, “Because of the project’s longevity, it felt like
Left Sarah Gaventa has been working as Director of the Illuminated River Foundation for the past two and a half years. Above A rendering of London Bridge
something that could be worthwile, that could be of benefit to Londoners. It’s about using light to
reveal the beauty of what’s already there, but it’s also nice to have something that’s a bit joyful in
these times, and that’s the power of light really, it can do that.”
While the first four bridges are scheduled to be
illuminated this summer, the work doesn’t stop for Gaventa and her team, with preparations already
well underway for the next five bridges, due to be illuminated next year.
And she’s hopeful that the work of the Illuminated River Foundation will inspire other cities to follow suit and create similar installations: “I hope other people will then look at their own lighting plans, and we’re happy to share what we’ve learned,”
she said. “I’m hoping that this will be seen as an example of how to do it well, and how you need
the best lighting professional expertise to create a project like this.”
www.illuminatedriver.london
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Research
Biophilic Design: A Trend Watch Having recently collaborated with Julia Hartmann and Carla Sigillo of Lightsphere on a research paper dedicated to the subject, Asst. Prof. Dr. Karolina M. Zielinska-Dabkowska IALD, IES, CIE, MSLL, RIBA, looks at the role that lighting plays in biophilic design.
Figure 1 Biophilic office with green potted plants – appropriate illumination for plants is often overlooked Pic: © Shutterstock/Okrasyuk
D
to cities for employment and economic
Sustainable Biophilic Design - Green Building Standards and Certification Systems
landscapes so their direct connection to the
It has recently been acknowledged that a crucial factor of biophilia
continues to this day with unprecedented
rating and certification systems. Such schemes are voluntary and
uring the 20th century, many people migrated opportunities, abandoning farming and natural countryside and nature was lost. This process urban growth, in fact, it’s estimated 68% of
the world population will live in urban areas by 2050. Due to the
evolutionary disposition of humans, when people live in an urban habitat they will still seek to restore their lost relationship with plants and the natural world.
In 1994, Edward O. Wilson introduced the term Biophilia for the
first time, which describes the deep affiliation humans have with other life forms and nature as a whole: a connection rooted in
human biology. Later, at the turn of the 21st century, this knowledge began to be applied, and a noticeable global trend developed in the application of biophilic design principles in the projects of numerous, internationally recognised architectural practices
(Figure 2). This included WOHA, Foster and Partners, UNStudio, BIG Architects and MVRDV to name a few. Asia and especially Singapore are still at the forefront of this new development (Figure 3).
has been overlooked in the development of the 1990s green building usually involve third party-assessed rating systems that relate to
the built environment with the purpose of mitigating the impact of a building on the natural environment.
This is most often achieved via the integration of sustainable design, adopted by companies to demonstrate the integrity, responsibility and awareness of their organisations. The human need to connect with nature and the relationship that exists with the man-made
environment goes beyond the fundamentals of low impact design with raw materials, energy efficiency, safety or pollution. Rather, it deals with the effects on the physical and mental health and wellbeing of a building’s occupants. Biophilic design applies
especially to office buildings. In Europe alone, millions of people
spend more than 90 percent of their day in enclosed spaces and they typically work a five-day, 40-hour week. Therefore, it’s of utmost importance to create harmonious and sustainable interior spaces
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Research
that support human biology and respect plant life. According to
per floor, covering a wall area equal to or greater than two percent
wellbeing, boost creativity and focus, increase productivity, and
whichever is greater (https://bit.ly/2EOw4SK). Achieved BREEAM
research, biophilic design creates healthier spaces that support
reduce staff absence. Another factor that plays an important role in
the provision of green areas and plants into the built environment is to provide cleaner air to reduce the problem of indoor air pollution. So, to bridge this gap, the introduction of biophilic design into the verification process of building design as a practical and creative
of the floor area, or covering the largest of the available walls,
credits and criteria may contribute to claiming WELL certification. Although biophilic design goals might sometimes conflict with
the most energy-efficient design requirements, a fully sustainable building must meet the needs of its occupants.
solution will help to re-establish conviviality with nature in the built environment. There are three green building rating and certification systems that set benchmarks for health-centered practice that incorporate biophilic design principles: (1) the international
BRE Global’s Building Research Establishment Environmental
Assessment Method (BREEAM), (2) the U.S. Green Building Council’s Leadership in Energy and Environmental Design (LEED) programme, and (3) the International WELL Building Institute’s WELL Building Standard - the first performance-based building standard and
certification programme to focus exclusively on the health and wellness of the people in buildings.
Figure 3 A worldwide comparison of estimated biophilia projects by country, showing Singapore as a leader in this initiative. © K.M. Zielinska-Dabkowska & J. Hartmann
Biophilic Design and Lighting - A Field In Flux Figure 2 The global trend in realized and upcoming biophilia projects in the built environment. (Data has been estimated from projects on the websites of internationally recognised architectural practices starting from the year 1984, and from the publication of the book Biophilia by Edward O. Wilson.) © K.M. Zielinska-Dabkowska & J. Hartmann
In the BREEAM UK New Construction 2018 Land Use and Ecology (LE
04 Change and enhancement of ecological value category https://
bit.ly/2Wkpv4Y), credits can be achieved by improving the health, wellbeing and potentially, the productivity of occupants, users
and neighbours through the provision of recreational space and an
increased connection between people and the natural environment (biophilia). The intention of LEED v.4 for the New Constructions
Credit called Designing with Nature, Biophilic Design for the Indoor
Environment is to support and improve human health, wellbeing,
and productivity by providing and incorporating elements of nature in the indoor environment (https://bit.ly/2WgirGJ). A biophilic
design plan incorporates at least five distinct design criteria related
to biophilic design which must be developed and implemented. This includes: providing regular access to nature in the space, offering
natural analogues, ensuring spatial properties align with the nature of the space, uniquely connecting people to the place, climate, and culture, and lastly, creating sufficient opportunities for humannature interactions within the building and within the project
boundary, external to the building. In the WELL v2 pilot (https://
bit.ly/2wzi7U8), the new version of WELL Building Standard, one
can achieve credit points in Feature 89 Biophilia I – Qualitative by presenting a biophilia plan that includes a description of how the
project incorporates nature through the environmental elements,
lighting and space layout (https://bit.ly/2Ijsdhk). Additionally, two requirements in Feature 100 Biophilia II – Quantitative for Indoor
Biophilia have been established: potted plants or planted beds should cover at least one percent of floor area per floor and/or a plant wall
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With recently published reports such as HUMAN SPACES: The Global
Impact of Biophilic Design in the Workplace, books (https://bit.
ly/2wtT4lx, https://bit.ly/2WFM1F4), past and upcoming conferences and seminars (https://bit.ly/2HOvC8N, https://bit.ly/2VRjpEw) clients and architects expect their projects will incorporate
theses new elements. Interestingly, when consulting lighting
manufacturers or plant specialists on how to illuminate ornamental plants for real life projects with LEDs, often answers aren’t
available because there are no worldwide established standards
and recommendations regarding how to correctly illuminate them.
Furthermore, if there is no daylight available in built environments, many plants do not survive so they need to be constantly replaced due to insufficiently designed and specified artificial lighting.
Therefore, the recently published study in Sustainability Journal
called LED Light Sources and Their Complex Set-Up for Visually and
Biologically Effective Illumination for Ornamental Indoor Plants
(https://bit.ly/2QHE24P) might be an interesting read for those who are looking for specific answers on the subject. This research work has been inspired by the need to provide appropriate ornamental plant illumination for the Zurich lnnovation Center Givaudan,
Kemptthal - a real life project (https://bit.ly/2JTPZDQ). A master
thesis was developed, which translated the vision of the Givaudan project into the academic field (https://bit.ly/2Iip1Cz). This thesis formed a research-based foundation, and its findings instigated further detailed study, as presented in the research paper.
This research shows the complexity that’s involved in designing
illumination for people and plants in indoor spaces, and attempts
to answer the question for an optimal action spectrum for visually
and biologically effective LED illumination. Additionally, the authors create sustainable design principles when applying LEDs to provide illumination for ornamental plants indoors.
Adobe
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Research
Table 1. Different requirements for illumination between ornamental plants and humans © K.M. Zielinska-Dabkowska Exposure Variable
Plants
Humans
UV-A
Required
Avoided due to ageing, skin burns, skin cancer
UB-B
Required
Required for vitamin D synthesis
Full spectrum visible light
Required for photosynthesis
Required for vision and overall health and wellbeing (resetting of circadian rhythms for hormonal activity, jet lag and Seasonal Affective Disorder adjustment)
related requirements between plants and humans, but also there
is an issue of standard measuring devices that only include visible
light ranges based on CIE recommended spectral luminous efficiency functions. Lastly, standard LEDs as non-thermal light sources do
not produce advantageous thermal IR wavelengths of light, which is beneficial for plants as well as humans.
Conclusions The following conclusions driven from this study can be summed up in the points below:
Blue light (peak 460nm)
Required
Avoided at night due to melatonin suppression
• Daylight in indoor spaces is a preferred form of illumination for
NIR/IR
Required
Required but with controlled exposure to avoid skin burns, cataracts
• When daylight levels are insufficient, artificial illumination
Intensity of light energy (PPFD/Lux)
Required for photosynthesis
Required for vision
Appropriate timing of light
Required
Required to avoid exposure of specific wavelengths of light in the evening and at night
Appropriate light duration (24h photoperiod - diurnal exposure to daylight and darkness)
Ca. 14h light exposure (depending on species and geographical location) followed by 10h of darkness
Ca. 16h light exposure (depending on season and geographical location) followed by ca. 8h of darkness
As listed in Table 1, we can see that there are crucial light-related requirements such as the light spectrum, the intensity of light
energy as well as the timing and duration of light, which affect both ornamental plants and humans.
Light information about the environment has been both intercepted by plants and humans via different photoreceptors containing certain photosensitive pigments that absorb electromagnetic radiation at a specific wavelength (Figure 4).
Green plants react to optical radiation they use for photosynthesis (transforming light energy into chemical energy) as well as
photomorphogenesis (for overall development control as well as defining their shape).
The action spectrum for plants, known as the McCree Curve, has been
defined between 280-800nm, and the part beyond the visible light spectrum is shown as a continuous black line on the drawing. The
Photosythetically Active Radiations (PAR) spectral range, commonly
used in horticulture, contains an incomplete range between 400-
700nm for whole plant development, shown as a dashed box on the
ornamental plants, due to its broader, continues spectrum.
should always attempt to replicate how ornamental plants appear in daylight. (This is based on a deeply engraved evolutionary
relationship with natural light, where humans will always have a
preference for the daylit appearance of plants in interior settings compared to artificial illumination).
• Architectural white LED lighting with the standard CCT metric
applied for indoor spaces cannot provide visually and biologically effective illumination for ornamental indoor plants alone.
• The coloured, artificial illumination used for growing horticulture
food plants should not be applied to indoor environments, as it gives an unnatural appearance to indoor ornamental plants and it lacks
the healthy properties of full spectrum light required by humans and plants.
• The right action spectrum for biologically effective illumination for ornamental indoor plants can be generated with correctly designed LED light sources (specific wavelenghts and their spectral ratio) as well as lighting control.
• When designed correctly, biologically effective LED illumination for ornamental indoor plants can also look natural and visually appealing.
• There is a lack of proper research methodology for ornamental indoor plants to base this research on, such as establishing and
evaluating the optimal wavelength selection and spectral ratios of LED light sources.
• The detected/recorded wavelength range of universal measuring
devices is limited and excludes non-visual light below 380 nm and above 760 nm.
drawing. Research clearly states, that the photomorphogenesis of
various plants require the electromagnetic radiation outside the PAR
range from ca. 380-850nm and any exclusion of specific wavelengths such as UV light and far-red will have an impact on other plant
processes, which will in consequence, have a negative impact on growth and development.
Figure 4 A comparison of action spectra for plants’ photosynthesis and human’s visual perception. Infrared and UV values based on International Commission on Illumination (2009). © K.M. Zielinska-Dabkowska, J. Hartmann & C. Sigillo
Whereas, the action spectrum for humans is determined by the
luminosity function V (λ), shown as a dotted line on the drawing and a range between 380-760nm. So we not only have different light
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Asst. Prof. Dr. Karolina M. Zielinska-Dabkowsa is a chartered RIBA architect and awardwinning practicing lighting designer. She is also an Assistant Professor at the Faculty of Architecture, Gdansk University of Technology, Poland, and co-founder of GUT LightLab, where she conducts research on various aspects of light and lighting in the built environment. She is actively engaged in the work of international organisations such as the International Association of Lighting Designers (IALD), the Illuminating Engineering Society (IES), and International Dark-Sky Association (IDA), providing guidelines and sharing best practice for nighttime illumination in the built and natural environment. She has participated in a number of international conferences, and has written articles for national and international publications. Karolina joined Woman In Lighting (WIL) in March 2018 as an Ambassador for Poland.
Ever y.Angl e.Cover ed
Pics: Filipa Peixeiro
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women in lighting
Light is Life arc caught up with Julia Hartmann and lightsphere to see how these women are dominating Switzerland.
H
eaded by Julia Hartmann, alongside
Technology during her time studying, which involved
and Lighting Designer Carla Sigillo,
own light laboratory and organising multiple light
Project Director Melanie Heilgeist lightsphere is an all female run
lighting design practice based in Zurich, Switzerland.
Hartmann established the young
team five years ago, after a successful eighteen years in the industry.
Reflecting on her desire to pursue a career that allowed her to be creative and inventive, she said: “Working as
an independent lighting designer is a dream come true.
As a child, I was interested in the relationships between
nature, design and technology and was fascinated by the influence of light on humans.
“After completing my college degree in design, the path led me to interior design studies. There, I took part in a
light workshop in the first semester, which inspired my professional future. The fascination for light and the
use of light in the built environment soon became my passion,” reflected Hartmann.
“I wanted to be an inventor and explorer when I was
younger. At a later stage in life, this changed to product design with a focus on bionic structures. As life is not a
straightforward path, things and situations change along the way. But, looking back and reflecting on my career, I am actually where I wanted to be.
In lighting design, we have to be inventors and explorers and at some stage we also have to
develop or modify products. As well as that, as
lighting designers, we are very close to nature and need to understand the influence of light
on us as humans.”
Hartmann completed a degree in Interior
Design at the University of Applied Sciences in Coburg, Germany. She became a student assistant for the Department of Lighting
being partly responsible for establishing the university’s workshops in Coburg and the surrounding areas.
This interest in light led her to become a student member of the ELDA and later the PLDA, which gave her access to valuable contacts in the industry early on. She then
went on to complete a scholarship earned internship at the prestigious Lighting Planners Associates (LPA) in
Singapore. After graduating with honours, Hartmann
followed work to one of Switzerland’s largest lighting
design offices, reflexion, where she stayed for six years. “During this time, as a project and team leader, I was able to pass on my passion for light to colleagues and
customers and worked on exciting major national and international projects,” she explained.
“At the age of 32, I decided to establish my own office in 2014 called lightsphere. Promoting young professionals has always been close to my heart, therefore I allowed students from the University of Wismar and Aalborg internship positions.”
Heilgeist began her light journey whilst studying interior design at the University of Applied Sciences and Art in
Hildesheim. “During my Bachelor degree thesis, where I designed the interior of a Kindergarden in a big industry
hall, questions like How do you bring interiors alive? How
do you get light in the space when there is no daylight or it is a cloudy day? How do you create ambience,
atmosphere or serve the use of a space with light? came
up and there I realised the importance of light, artificial light and daylight,” she explained.
During her time at Hildesheim, she also took part in an exhibition, together with the lighting design students, that revealed the practicality of lighting a space and
sparked her interest in the profession. Heilgeist then
went on to complete a masters in Architectural Lighting
Design in the UK and was later offered a job as a lighting
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designer in the London office of dpa lighting
inventions from all over design, research and
preconceptions about your understanding of
where she gained the experience she took
results. Therefore, our clients’ needs are the
to an assumption where they won’t take
consultants and later in its UAE Dubai office, with her to lightsphere.
Sigillo adds a construction element to the
team at lightsphere with her experience as an architectural building engineer. At the
age of 30, after working as an engineer for
three years, Sigillo realised she was missing
an element of creativity in her daily routine. “I began to reflect deeply on my passions - architecture, photography, light and
design - and how to combine these creatively without moving too far from the building engineering and the skills I had gained
during my education. This is how I came
across the magical world of lighting design,” she explained.
After completing her engineering masters,
Sigillo went on to finish a masters in Lighting Design at Aalborg University in Denmark,
and then a Daylighting intensive course at the Parsons School of Design.
Designing “for the people” is one of the
main focuses lightsphere maintains through its lighting practice.
“We approach lighting design from a
multidisciplinary standpoint. The effects
on users and the biological effect of lighting means we now conduct more research
within our workflow. We also follow other
industries to see how innovations can cross over. We are always searching for new
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science, so we can create the best possible key factor for our concept approach.”
Heilgeist added: “I personally believe that great and harmonious lighting design
can only be achieved in a team within the
company and in cooperation with the project team. Designing a lighting scheme requires you to understand the user and requires
experience and knowledge of special fields
in lighting. lightsphere is a team of exactly
that variety in personalities, experiences and knowledge.
“On a daily basis, we strive to provide the
best customised lighting solutions for each client technically, economically, but more
importantly, in harmony with the look and feel of the space.”
Hartmann became the Swiss Women in
Lighting ambassador after a close working relationship with Light Collective formed during The Perfect Light project.
“The key goal for me is that at some point in the future, we no longer talk about gender
issues, and instead we talk about individuals and their achievements. It is all about
sharing ideas and experiences within the
profession,” described Hartmann about her role as a Women in Lighting ambassador.
“My experience as a female in the industry is that sometimes a situation occurs
where some project partners tend to have
technical matters in a project, which leads you seriously when dealing with technical
questions. But, it’s always a great moment
when they realise that you do know your job well, including the technical and control aspects. For me, it is more important to
treat each individual respectfully to be able
to collaborate in the best way possible,” she added.
“Another great thing about the Women
in Lighting project is to encourage more,
especially younger females, in the lighting
industry to speak up and improve their selfconfidence.”
With technology and scientific
advancements happening at a rapid rate in
the lighting industry, Hartmann maintains it is important to hold onto the foundations of the importance of good lighting.
“With all the technical possibilities we
have nowadays, lighting design has become more and more diverse and the freedom of creation seems endless. But, the core
intention for lighting design is to play with emotions and let magic happen.
“Knowing your tools is one thing. More importantly, empathy and the sense of creating beautiful spaces with light for
the people using the space is key. I believe we have to work towards the direction to
keep regulations in mind but not to blindly
women in lighting
Previous Page From left: Melanie Heilgeist, Julia Hartmann and Carla Sigillo. Far Left The main atrium at the Zurich Innovation Centre for Givaudan. Three living columns of ornamental indoor plants are kept alive using bespoke LED luminaires the team worked tirelessly to adapt for plant life. Left A close up of one of the living columns in the atrium space. Research has shown the increased wellbeing and productivity in the workplace as a result of indoor plants. lightsphere and Dr. Karolina Zielinska Dabkovska completed a research paper into the impacts of LED lighting on the growth and sustainability of plant life. This page top left, middle and bottom Lighting scenes for the Vaduzer-Saal project, highlighting the various settings. Above The inside stairwell of the municipal centre Vaduzer-Saal in Liechtenstein. lightsphere was awarded this renovation assignment as its first project as an independent practice. Below The Vaduzer-Saal was also awarded with an IES Award of Merit in Energy and Environmental Design and got the Swiss Energy Efficiency label for the renovation of its illumination. This was a milestone project for the team and gave them international recognition.
trust those guidelines, instead to use our
carried out numerous in-house experiments
lighting design, including an IES Award of
creating beautiful spaces with light and
time, Sigillo was completing her internship
Design in 2017, the Lighting Design Studio
aesthetical common sense and demand in shadow to enable people to have a better life.”
The importance of lighting and biological life is one area of research the team has
dedicated a lot of time and effort into. Whilst working on the Zurich Innovation Centre
for Givaudan, a world leader in producing flavours and fragrances, the team were
to find the ideal luminaire solution. At the in the office and used this project as her Masters’ thesis research paper.
“After the successful integration of the
bespoke luminaire, we - myself and Carla
– joined forces with Dr. Karolina Zielinska Dabkovska to complete a research paper
that was published in the online research magazine Sustainability. We wanted to
required to create multiple lighting schemes
share the results and experiences we gained
The space was divided into laboratory
community to create better awareness
for humans and plant life.
workspaces and a main atrium, used for recreation and communication. “The
architects, from Bauart Architects and Planners, wanted to set a comparison
between the laboratories where people need
to work with high precision and high quality standards. In contrast, the atrium space is used for communication, recreation and exhibitions,” explained Hartmann.
“In addition to this remarkable building’s shape and use, the landscape architects
from Schrämmli Landschaftsarchitektur
wanted to integrate seven columns, twelve
metres high, with living ornamental plants
to enhance the atrium space and incorporate nature into the building.”
To solve the challenge of finding a light
source that would enable the plants to not only survive, but thrive indoors, the team
over the years with the lighting design
and understanding on the complexity and
processes necessary for using indoor plants, as it’s a highly complex setup,” elaborated Hartmann.
“Humans relate to light on an emotional and biological level. This happens individually
in different ways; therefore it is important to understand the person or people using the space, building or environment. We,
as humans react to light, it is important to
carefully design the right light for the right
time of day and task. We need to fulfil these
requirements and demands but we also need to keep the magic and create a little sense of wonder.”
Over the short amount of time lightsphere
has been practicing, the trio has achieved a lot of recognition in the industry and won
numerous awards for their contribution to
Merit for Energy and Environmental Lighting of the Year 2019 Switzerland and Award
for Excellence in Customised Luminaire
Development 2019 by Lux Designer Awards , to name a few.
Championing a sentiment many aspire to
achieve in the lighting industry today, Sigillo added: “I hope that my genuine passion
for light, coupled with my technical skills, will contribute to push the world towards new visions and new sustainable lighting solutions, where natural and artificial
lighting can work together seamlessly, guided by environmentally friendly principles.”
Furthering its journey, Hartmann described how she sees lightsphere moving forward and growing further: “We will keep going with our curiosity and love for light, and
try to keep up to date with technology and design as well as science. We conduct our own research about various topics like
biophilic design and LED light for indoor ornamental plants, which we want to
foster and improve. With this mix and the magnificence of my team, which we will
hopefully increase in the future, it motivates me and keeps me going. We will keep on exploring and inventing.” www.lightsphere.ch
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Pics courtesy of Kerem Asfuroglu
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project
New Horizons Lighting designer, artist and Dark Source founder Kerem Asfuroglu tells us about his recent trip to Gambia for a charity venture, in collaboration with The Vessel UK and Daughters of Africa.
L
ong-time readers of arc will already be well aware of the
work of Kerem Asfuroglu, as the lighting designer and artist regularly graces the pages of this magazine with his hard hitting Dark Source stories.
Since the turn of the year, the Hochschule Wismar graduate has founded his own independent lighting design and visual arts studio, Dark Source,
following his departure from Speirs + Major - where he worked for almost eight years - in October of last year.
Passionately driven by its “social conscience and creative vision”,
Asfuroglu’s aims for Dark Source are to work collaboratively to add value to public, architecture and design projects of various scales, with social-
impact and community projects ranking very high on the studio’s agenda.
As part of this agenda, Asfuroglu recently teamed up with the Daughters of
Africa Foundation and The Vessel UK for a charity project in Gambia, focused on training 30 local electricians about lighting design and solar energy to increase their employment potential, while also providing a new source
of light for their local community. More than just another lighting design
project, The Vessel is an innovative approach to target projects around the world to promote the universality and importance of lighting design.
The project came out of Asfuroglu’s charity work closer to home, as he
explained: “In 2014, I volunteered at KORI, a community centre in North London that was focused on youth development.
“The community centre was founded and managed by a wonderful lady called Odiri Ighamre, who taught me a lot about youth-mentoring. The
Vessel was a product of KORI that focused on empowering people to deliver projects in Africa through teamwork and sharing knowledge. They worked in various African countries before, but Gambia proved to be one of their most consistent partners.
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project
Left Asfuroglu traveled to Gambia to train 30 local electricians about lighting design and solar energy, to increase their employment potential while providing a new source of light to the local community. Middle Left The initial design plans from Asfuroglu for the Inspiring Young Stars Library in Abuko. Middle Right Due to the tight budget for the project, the team retro-fitted old kerosene lanterns with LED lamps. Below Left As electricity is an unreliable and expensive resource in Gambia, the project utilised solar power. With just five hours charge, the newly-installed solar panels, provide up to eight hours of illumination. Bottom The pendants used throughout the library were crafted by a local artist named Tijan. This helped to make the design feel local, creating a sense of character familiar to the surrounding context and its users.
“We always talked about doing something, but I never got around to it due to my professional
commitments. When I left my job towards the end of 2018, I finally ran out of excuses.”
Electricity is an unreliable and very expensive resource in Gambia; apart from the main
highways, the majority of the streets do not
have any lighting. On top of this, approximately 600 million people in Africa cannot access or afford electricity, which forces people
to consider oil-based lamps or candles for
illumination, which can cause issues such as air pollution, fire, smoke poisoning and bad
sight. The aim for The Vessel, therefore, was to
demonstrate how designed light could improve lives - not only by replacing the incendiary
illuminants, but also by offering an alternative to their blatantly utilitarian successors.
Following technical training at St. Peter’s High School in Lamin, the project was finalised with
the practical installation of a solar power-based lighting scheme at a 24/7 accessible community library. “Alagie Ndow, the most charitable
young man, offered the Inspiring Young Stars
Library, which he set up to serve his community in Abuko,” said Asfurloglu.
“Our mission was to deliver a holistic training, which involved design concept, project
management, site-work and even preparing portfolios for getting new jobs.”
Due to the lack of electricity and economic
circumstances, some children travel up to six kilometres to attend the library, so Asfuroglu and The Vessel wanted to improve their
studying experience through lighting design, while eliminating the power cuts and costs indefinitely.
The new design for the library consisted of
multiple layers of light, with custom-designed pendant luminaires providing task lighting,
spotlights for creating vertical emphasis and bespoke lanterns for flexibility.
A local artist produced the hand-woven
pendant shades, as Asfuroglu explained: “All we did was identify that we needed pendants
as a functional layer of light. It was important that the design felt local to create a sense of
character familiar to the surrounding context and its users.
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project
“We got in touch with a local artist named Tijan
maintenance costs for the community.”
until we met in person. We only gave him a
played an important role on the luminaire
and coordinated the process through WhatsApp guideline idea about the scale and transmission,
the rest is his magic. We are delighted that we can take no credit on that front.”
The spotlights focused on the walls revealed the
colour and texture of the books, while creating a legible and well-lit space. Old-school kerosene lanterns found in second-hand shops were
retrofitted with LED lamps. The transportable
nature of these lanterns provided flexibility as they could be relocated based on need; for instance, two of these were hung outside the entrance to signal that the library is open, with a warm welcome. Due to the very tight budget for the project,
Asfuroglu said that they had “no funds for fancy
equipment”. “It is a real eye opener,” he said. “It
makes you appreciate the kit that you normally get to use over in this part of the world.
“We allocated more funds for the lamps to
ensure a certain level of quality and longevity.
We also brought enough spares to minimise the
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As well as the quality of light, mounting standards selection criteria. “Whether it is B22 or GU10, it
was important to ensure that the right products can be found in the local market. Therefore all
selected luminaires had to utilise interchangeable lamps for future-proofing.”
Asfuroglu also added that, owing to the difficulty in sourcing specific materials in Gambia, as the majority of electrical equipment is outsourced, most of the materials used - such as the solar panels, light fittings and cabling - had to be brought in from abroad.
However, he revealed that the overall equipment cost was less than £1,000 - and was completely
financed through fundraising. The new scheme also provides a solar system capable of storing up to 1.2KW per day. “With five hours charge,
the system provided more than eight hours of
illumination, and enough additional power for other applications.”
The newly illuminated library features a complete
Top With its new lighting scheme, the Inspiring Young Stars Library now provides a comfortable location for Abuko’s children to study, without the risk of power cuts. Above Left The full lighting scheme for the library featured spotlights to create a vertical emphasis, alongside the bespoke pendants. Above Right The warmer, 2700K LED scheme is something that is uncommon in Africa, as manufacturers concerned with efficiency don’t tend to provide LEDs in warmer colours, but the popularity of the new lighting, Asfuroglu believes, “busts the myth that warmer climates prefer cooler colour temperatures.”
Dingo. The DINGO spotlight impresses not only by its technical value, but also by its clean and straight Finnish design, which provides the compact spotlight with a timeless elegance. During development, LIVAL put great effort in energy efficiency, glare control, good thermal management with good cooling properties and a minimal eco-footprint with low weight and a small form factor. The cylindrical spotlight DINGO is equipped with the ultra-slim GA-016 adapter driver which disappears in the power track and thus allows a barely visible installation. This product is available with on/off, Dali or wireless Casambi driver. Dingo will be delivered with the unique 3-D reflector as standard – to generate an even and fine-tuned beam of light
Watch our video at www.lival.com
2700K LED scheme, something that is
experience to generate its own workforce
happy to see ourselves going back soon, but
concerns, manufacturers don’t tend to
“I heard that one of our trainees, Pabi, wants
the right time.
uncommon for Africa. “Due to the efficiency provide LED lights in warmer colours,”
Asfuroglu explained. “The popularity of the
scheme busts the myth that warmer climates always opt for cool colour temperatures.” Indeed, Asfuroglu said that he was “over the moon” to see how much the local community embraced and valued the
scheme, particularly when considering the lasting social impact that the project will have on the area.
“Our biggest design question was ‘what will be left for the community once the project is over?’” he said. “Its social impact was
meant to create sustainability and growth through training, evoking business ideas, connecting communities and improving
social circumstances. As much as delivering
a design project, it’s also about teaching how to sustain and spread the culture of design. “True self-sufficiency relies on the
knowledge to be sustainable, as well as the
energy. Rather than importing a design, the project focused on local culture, issues and
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through sharing knowledge.
to design lighting for his neighbourhood
now. He’s trying to get households to join
together and contribute. We cannot think of any better outcome than this.”
Having spent a month in Gambia for The
Vessel project, Asfuroglu described his time there as “a profound experience”.
“Within the massive African continent,
Gambia is a tiny country that is full of life and ambition,” he said. “The growing economy has not yet reached its full
potential, therefore it is difficult for people
to sustain themselves with a single job. This is why the lighting design course was timely for our 30 young electrician friends, helping them to broaden their approach and seek other opportunities.”
On his return to the UK, Asfuroglu has
said that he is already looking for the next
venture to get involved with, whether that
be in Gambia, or elsewhere in Africa. He said: “Social impact and community projects rank very high in Dark Source’s agenda. We’d be
it would need to be with the right people, and “Charity projects demand considerable
amounts of time and resources, therefore the coordinating partners play a very important
role on bringing the project to life. With that said, we want to give a big shout out to The
Vessel UK and Daughters of Africa. They have done an amazing job with coordinating the
project and accommodating us. It would not have been the same without their personal care and involvement.”
And he has encouraged more lighting
designers to get involved in initiatives such as these. “The Vessel was a design project that sought success in social impact, not excellence in visual aesthetic. It’s part
of a movement that encourages lighting
designers to take social responsibility in
parts of the world where their skills may not be profitable, but certainly life changing. “If you want to get involved, you should
first scout for like-minded organisations and project managers who operate in the
area of interest and consult them. Start a
project
“This project has been a profound experience for everyone who has taken part in it. As designers, we rarely get opportunities to improve lives in such an essential and straightforward way.” Kerem Asfuroglu, Dark Source
conversation. Think of what you can offer and
Following his return to the UK, Asfuroglu has
dimensional lighting project. We would be happy
Gambia, notably receiving a special mention at the
make sure that it has deeper roots than just a twoto share our experience and point people in the
right direction if we can, so feel free to give us a shout!”
Looking back on his time in Africa, while he
feels that the whole experience was incredibly
rewarding, there was one moment that stands out as a highlight.
“On our last working night, seeing the children comfortably study under the new light was our
biggest reward,” he said. “Lots of parents showed up asking about the place, because the new lighting got their attention.
“As we stepped outside, we noticed that the power had gone out in town again, but the best part was
that the children at the library did not even notice. This is how imminent design enhanced the quality of life.
“This project has been a profound experience for
everyone who has taken part in it. As designers, we rarely get opportunities to improve lives in such an essential and straightforward way. We are forever in debt to our donors. This project would not have touched so many lives without their kindness.”
received a great deal of recognition for his work in Lamp Awards. Noted as a “commendable piece of charity and social work...concerned with making a long lasting, sustainable difference within the
community” by the judges, Asfuroglu received a donation of €1,000 in lighting material for Dark
Above Left Asfuroglu (centre) with the team of 30 local electricians who completed the project. Asfuroglu is hopeful that experience will help them to “broaden their approach and seek other opportunities”. Above Right The library features multiple layers of light, with the custom-made pendants providing task lighting, alongside spotlights for creating vertical emphasis, and the bespoke lanterns providing flexibility.
Source’s next social light project. www.dark-source.com www.thevessel.org.uk
www.daughtersofafrica.info
Dark Source would like to give special thanks to:
Speirs + Major, Ben, Kay & Lisa Fitzsimons, Lionel
M. & Margaret F. Harrold, Anne Moldenhauer,
Roland Block, Hasan Gozlugol, Jonas Godehardt,
Michael Dooney, Resat Bekflavioglu, Emre Gunes,
Howard Lawrence, Irmgard, Rainer, Lucie, Satu
Streatfield, Helga Iselin Waseth, Nassif Josef
Nassig, Johannes Stahl, Carolina Marquezim-
Emanuel, Enzo Mercedes, Clementine Fletcher-
Smith, Dorit Bagehorn, Yasin Caliskan, Jack Wates,
Cem Bektas, Ben Krueger, Frederik Friederichs,
Hakan Kose, Katia Kolovea, Melody Culanah, Rosie
Morgan & Bojana Nicolic.
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065
PROJECT DETAILS Tottenham Hotspur Stadium, London, UK Client: Tottenham Hotspur Football & Athletic Co Lighting Design: BuroHappold, UK Architect: Populous, UK; F3 Architects, UK Lighting Partners: Zumtobel Group, Austria
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PROJECT
A League Of Its Own The new Tottenham Hotspur Stadium has been gaining plaudits from sports and architecture aficionados alike. With lighting designed by BuroHappold, in collaboration with Populous, F3 Architects and Zumtobel Group, it is a shining beacon for other teams to aspire to.
Pic: Getty Images, courtesy of Tottenham Hotspur Football & Athletic Co.
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PROJECT
Pic: Zumtobel Group
Pic: Zumtobel Group
Pic: JPR Lighting
S
ports fans around the world will
large, collaborative consultation process between
newly opened Tottenham Hotspur
firms had visual preferences, and the lighting
already be keenly aware of the Stadium, as until its official
Populous, F3 and BuroHappold. Both architecture designers would advise on lighting arrangements
opening this April, it was one of the most hotly
and specifications that could be incorporated
Located on the site of the London club’s former
BuroHappold also brought ideas and lighting
anticipated new sporting venues in the world. White Hart Lane ground, the 62,062-seater
multi-purpose venue will not only be home
in order to achieve their vision together, while concepts to the table, which assisted to provide a well co-ordinated and cohesive lighting scheme.
to Tottenham Hotspur Football Club, but
This collaborative effort aimed to provide
games - it is the first purpose-built NFL
players, employees and visitors alike, while
States - concerts, and other major events.
many different requirements, from the fan
will also host National Football League (NFL) stadium to be constructed outside of the United
a comfortable and safe environment for providing perfect illumination for the
More than just a stadium, the new facility features
experience, to the player’s facilities, media
Chairman’s Lounge and VIP Boxes to the Tunnel
With player wellbeing being of paramount
a vast array of hospitality venues, from the
Club - an exclusive restaurant that looks out onto the tunnel as players enter and leave the pitch,
zones and behind-the-scenes areas.
importance, considerable attention was given to circadian rhythms in the changing rooms,
the 65-metre-long Goal Line Bar - the longest
physio and relaxation spaces, meaning that
microbrewery for local craft brewery Beavertown.
times of day when the players used the
continuous bar in Europe, and an in-house
The stadium - the second largest club stadium in the UK behind Manchester United’s Old Trafford - was developed by Populous and
F3 Architects, who worked in collaboration with BuroHappold and Lighting Partners Zumtobel Group on the lighting design.
The lighting design was developed as part of a
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the lighting had to be catered for the different facilities. With this in mind, the design team
used Zumtobel’s Panos Infinity, with a whitelight range of 2700-6500K, which offers the user a range of options to adjust the colour
temperature to the respective application. The
Austrian manufacturer’s Slotlight tunableWhite and RGBW LED tape has also been utilised in
Previous Page The new, 62,062-seater Tottenham Hotspur Stadium is the second largest club stadium in the UK, behind Manchester United’s Old Trafford. Top Left Designed by Populous and F3 Architects, with lighting design developed in collaboration with BuroHappold and Zumtobel Group, the stadium blends traditional sensibilities with modern design. Top Right The Tunnel Club, one of the many hospitality suites in the stadium, allows fans to view players as they enter and leave the pitch while enjoying a fine dining experience. Above Left The Stratus East and West atrium lounges feature a recurring triangular motif with more than 500 bespoke boxes integrated into the ceiling. These include lightbox and acoustic solutions developed by JPR Lighting. Above Right Alongside the strips of light that surround the stadium, 380 of acdc’s Blade luminaires were used to create a stunning ‘halo’ of light at the top of the stadium.
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PROJECT
Left The Goal Line Bar, at 65 metres long, is the longest continous bar in Europe. Part of the designers’ ambitions to create an area where fans will want to dwell both before and after the game, the bar, and each of the many hospitality areas, has its own distinct individual character and identity, which is reflected in the lighting.
“We wanted to produce a building that, while upgrading the quality, didn’t lose the authenticity of what football stadiums are all about.” Chris Lee, Managing Director, Populous
this area, while the players’ tunnel has been illuminated using Custom Active Light Wall - two huge stretch ceiling fittings that were personalised in Zumtobel’s Dornbirn factory. Complementing these approaches, JPR Lighting was
commissioned by F3 Architects for the design, development,
manufacture and full on-site installation of bespoke signature lighting for a number of specialist areas in the stadium.
This included the Players Lounge - a space where players are given a psychological boost before each game.
Subliminal hexagon design details throughout the lounge intend to help the players focus prior to the game. Key to
the success of the space, the design themes are echoed by
the lighting. The hexagon ceiling system comprises acoustic
sections and light boxes for a complete ceiling system. The light boxes include a track and sheet system with LED sources.
For the hospitality areas, BuroHappold worked closely with Populous to develop concepts that would capture the various vibrant interior spaces. A key requirement for the stadium was to create internal
spaces where visitors could spend time and indulge for longer periods than normally associated with football stadiums, prolonging the
matchday experience and inviting fans to arrive early and leave late. “Tottenham has such a great and growing industry of local
producers of food and drink, and we really wanted to showcase
that. So we created this street food meets beer hall environment, and it’s a fantastic place to meet both before and after the game,” said Chris Lee, Managing Director of Populous.
“We wanted to produce an environment where the spectators can choose where they want to go. Some of the stuff we
loved about American sports and American stadiums is the
idea that you came for the whole day, and you could choose to go to different bars or restaurants and have different experiences during the day or from trip to trip.”
To differentiate the plethora of different areas that fans can
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â&#x20AC;&#x153;The whole lighting scheme has been designed to enhance the matchday experience for the supporters.â&#x20AC;? Elliot Evans, Lighting Designer, Zumtobel Group
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Pic: Getty Images, courtesy of Tottenham Hotspur Football & Athletic Co.
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Pic: JPR Lighting
experience, each hospitality area has its own
wall. The lighting in this space was a real focus to
which is reflected in the lighting.
spaces when open together. JPR’s design team
distinct layers, creating depth and providing
around the club’s vision. A series of continuous
most part, a system of lighting included for
designed with one-piece diffusers for a seamless
horizontal lighting was provided by downlights,
Café, these solutions bring fluidity to the adjoining
downlights, such as acdc’s Novus and Novus Mini
finished in a custom blue colour to match the team
emphasis on the illumination of vertical surfaces.
The H-Club, a ‘discerning private members
lighting was added via suspended pendants
steeped in the history of Tottenham Hostpurs’
and architectural structures. These three
solution featured around the circumference of
layering required, while the use of dimming to
brass fronted step lantern echoes the luxurious
emphasis to the feature lighting, enhancing
individual sections, the lighting installed onsite
Alongside the Players Lounge, JPR Lighting
The Stratus East and West atrium lounges are
of specialist areas, including the Media Café,
enjoy stunning panoramic views across London
Stratus East and West atriums, totalling
stadium, and a birds-eye view of the pitch during
The Media Café acts as a hub for the press on
design was presented to the JPR team, which was
The multi-functional space includes a café that
acoustic solutions. The ceiling layout comprises
with a back section closed off through a bi-folding
the East and West wings of the Sky Lounge.
distinct individual character and identity,
enable a seamless fluidity throughout each of the
Lighting was developed to ensure that there were
developed a unique housing that was fabricated
visual emphasis to areas of interest. For the
swirl lights around 28-metres in length were
the general illumination of each space with
finish. Organically flowing through the Media
track spotlights or surface mounted canister
environments. Zumtobel’s Vivo spotlights,
downlights. This was then complemented with
colours, complement JPR’s bespoke fixtures.
To bring the whole scheme together, decorative
club thrust into the world of entertainment’, is
and integrated lighting within the furniture
founding years. JPR’s fully bespoke lighting
components of lighting assist to provide the
the H-Club’s Luminaire Bar and lift lobby. The
reduce the background lighting provides further
details throughout the suite. Pre-fabricated into
the character of each individual area or space.
features more than 230-metres of diffused LED.
worked with F3 and BuroHappold on a range
modern, contemporary spaces where fans can
H-Club Members Suite, and the Sky Lounge
from the highest vantage point available in the
more than 24,000sqm of floor area.
game days. For this area, a triangular ceiling
matchdays, with screens visible at all angles.
developed into an array of bespoke lightbox and
is also open to the public outside of matchdays,
more than 500 bespoke triangle boxes throughout
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Previous Page The stadium is wrapped in acdc’s Blade RGB linear luminaires. These act as a beacon for fans approaching the stadium, while custom-built louvres prevent disruption to surrounding residences. Top Left The players’ tunnel has been illuminated using Custom Active Light Wall - two huge stretch ceilings that were personalised at Zumtobel’s Dornbirn factory. Top Middle Considerable attention was paid to circadian rhythms in the lighting for the players’ facilities, with player wellbeing being of paramount importance. This meant that the lighting had to be catered for the different times of day in which the players used the facilities. Top Right The designers went to great lengths to ensure that Tottenham Hotspur’s history remained present in the new stadium, with several nods to the club’s past present throughout. Above Left The South Stand is supported by two huge, tree-like pillars, each illuminated by recessed uplights at the base. Above Right The Players Lounge features lighting developed by JPR Lighting. Intended to give players a psychological boost before the game, the space features a hexagonal ceiling pattern that includes integrated light boxes and acoustic sections.
PROJECT
Pic: JPR Lighting
Top Left The H-Club Members Suite, a ‘discerning private members club thrust into the world of entertainment’, features a fully bespoke lighting solution from JPR Lighting around the Luminaire Bar and lift lobby. Top Right JPR developed a series of swirling luminaires, designed with onepiece diffusers for a seamless finish, to organically flow through the Media Café, bringing a fluidity to the space. These are complemented by Zumtobel’s Vivo spotlights, in a custom blue finish to match the team’s colours. Above Left Several lighting elements, including the illumination for the stadium concourses, were personally selected by Tottenham Hotspur hierarchy, including Chairman Daniel Levy. Above Right The stadium’s South Stand is the largest single tier stand in the UK. Angled at 34-degrees the stand, which is future-proofed for safe standing, was designed to create a ‘wall of noise’ within the stadium.
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Pic: JPR Lighting
In its role as Lighting Partner for the new
be involved, and we welcomed the input.”
in the lighting, right down to the design process,
venue in the English Premier League that is
Group, explained: “For Tottenham, partnership
in the local community - the stadium is actually
Populous and F3 Architects, and translated the
area - it was vital that it have a striking visual
lighting designers into a tangible lighting scheme.
as from the outset of the project, designers
schemes for a wide range of projects, including
recognisable stadium that would be seen by
and leisure facilities, and this project
ultimate matchday and visitor experience.
Farhad Rahim, Associate Director of BuroHappold,
Created using 380 pieces of acdc’s Blade RGB
Zumtobel, acdc, Simes and Thorn, this gave a
scene of light visible from a birds eye view, while
requirements without having to compromise.
the stadium. With their beam angle control and
assisting with the lighting designs, with
seamlessly into the architecture of the stadium.
details of the lighting, and assisting with
Blade fixtures are used across the façade of the
More than 77,000 luminaires from Zumtobel
and guiding them towards the stadium. However,
installed throughout the stadium, and Evans
surroundings, care and consideration had to be
played a role in which products were selected:
façade lighting didn’t spill out into the night.
some wanting to get more involved than others.
and consultants, creating several mock-ups and
budget project, we would have expected the
developing a custom louvre for the fixtures,
stadium, Zumtobel Group was heavily involved
As the Tottenham Hotspur Stadium is the only
as Elliot Evans, lighting designer at Zumtobel
situated on a high street, with a direct presence
was key, so we worked closely with BuroHappold,
part of a wider regeneration project for the
specifications and ideas of the architects and
presence. Lighting played a major factor in this,
“As a company, we have designed lighting
hoped to use light to create an instantly
commercial and retail space, urban landscapes
millions around the world while delivering the
allowed us to work from this expertise.”
Key to this is its impressive ‘halo’ of light.
added: “With the wide use of products from
linear luminaires, the halo creates an iconic
large palette of luminaires to address the lighting
enhancing the guest experience for those inside
“Zumtobel Group played a key part in
minimalistic design, acdc’s Blade fixtures blend
advice on the choice of luminaires, technical
Alongside the stadium-topping halo of light, the
mock-ups on site for client approval.”
building, setting the scene for approaching fans
Group and its various lighting brands have been
due to the built-up nature of the stadium’s
revealed that Tottenham Hotspur’s hierarchy even
given to the local community, ensuring that the
“Each of our clients work in different ways, with
As such, acdc worked closely with the architects
However, working on such a high profile, high
undergoing a number of intensive tests, before
hierarchy, including Chairman Daniel Levy, to
ensuring the right level of glare control.
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“We wanted a building that was transparent, that was
atmosphere and Tottenham has worked tirelessly to find
lighting, was about responding to different conditions to create
“The whole lighting scheme has been designed to enhance
welcoming, and the veil that wraps the building, with its blue a dynamic building with dynamic architecture,” Lee added.
Alongside the impressive façade lighting, on the ground, the external lighting scheme was orientated around the use of bespoke lighting columns incorporated with multiple spotlights that provide large areas of coverage from a single column, which together with the
incorporation of other components - such as CCTV, WiFi and Audio assists in reducing clutter and cutting down the number of columns for both lighting and other services in the external public areas. Mesh Lighting specified these columns, manufactured by
Technilum, to ringfence the whole of the outside of the stadium, as well as the approach. Ranging in height from four to 20
metres, the poles were specified from the Structure K range, and are paired with projectors courtesy of Simes and acdc.
One of the main challenges that comes when creating a new sporting venue, particularly one with a ‘bowl’ structure such as this, is that, in doing so, it loses some of the charm and character of the team’s former home, instead becoming just another ‘identikit’ stadium. “This is something that Tottenham was aware of and focused on from the beginning,” said Evans. “In fact, everywhere you look in the new stadium there is a nod to the history of the club. “White Hart Lane was always known for its fantastic
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ways to recreate this feeling in the new scheme.
the matchday experience for the supporters, for example, over 360 RGB floodlights have been used to light the
underside of the roof, alongside the more than 600 linear RGB luminaires that create the instantly recognisable façade and halo effect, creating the new face of White Hart Lane.”
Indeed the new venue features a number of nods to Spurs’
former home, with some of the original brickwork and flooring taken from the old White Hart Lane and installed in the new
stadium. The concourses are also filled with links to the club’s heritage, giving the ground its own sense of character.
“I think one of the important things from an architectural
perspective was that we wanted to produce a building that, while upgrading the quality, didn’t lose the authenticity of what football stadiums are all about,” Lee said.
“It’s easy when you upgrade quality to make it too posh or too slick, so we wanted to produce an environment
and use materials that were real and genuine, that would wear and that would look better in ten years time.
“As a sports architect, the challenge to design an amazing soccer stadium that’s genuine and authentic, that has a seating bowl that’s incredibly atmospheric, this is what it’s all about. We
PROJECT
Left BuroHappold also developed the lighting design for the stadium’s surroundings. Bespoke lighting columns from Technilum, specified by Mesh Lighting, are incorporated with multiple spotlights, providing large areas of coverage from a single column. These columns are also incorporated with other components - CCTV, WiFi, Audio - which assists in reducing clutter and cutting down on the number of columns for both lighting and other services.
lighting specified
wanted to create a seating bowl that had identity, that had character, that wasn’t a symmetrical, ubiquitous stadium where you didn’t know where you were.”
Since the stadium’s official opening - a 2-0 victory for Tottenham Hotspur over Crystal Palace - it has gained
plaudits from sports fans and architecture aficionados the world over. And for Evans, himself a Spurs fan, it was a special moment to see it finally open.
“It was an honour to be involved in the stadium, as it’s such an iconic project and it has a real history
with a community feel - they have built something that people can be proud of for decades.
“The whole team is proud of the collaboration and what we have achieved, and on a personal
level, as a long-time Tottenham fan, this has been a dream for me, and I have enjoyed seeing the project develop and the stadium finally open.
“It’s a fantastic scheme that uses the very latest lighting technology, is sustainable and future-proofed for any changes - it brings the club into a different league.” www.burohappold.com
www.zumtobelgroup.com www.populous.com
www.f3architects.co.uk
acdc Artemis acdc Blade acdc Blade Micro acdc BMN-L acdc Fusion 48 acdc Gio acdc Magna acdc Novus acdc Novus Mini acdc Plaza S7x acdc Ultra-L03 acdc Vista-L Applelec LED Light Sheets Autled Flexstrip Autled LED Flexboard 7 Mono Autled LED Module Chain Twin 12 Erco Beamer Erco Lightscan Floodlight Erco 34307 Erco 34671 iGuzzini Laser blade JPR Lighting Acoustic Ceiling System JPR Lighting Recessed Hexagon Lightbox JPR Lighting Step Lantern Luminaire JPR Lighting Surface Mounted Triangle Lightbox JPR Lighting Swirl Light LEDFlex Eco Flex 240 LEDFlex Extreme Flex LEDFlex Extreme Side Flex LEDFlex Lumen Line LEDFlex Maxi Neon Flex LEDFlex RGB Ultra Bright LEDFlex RGBW Solo Chip LEDFlex Ultimo Top View Simes Catch Square Simes Cool Square Long Simes Ghost Linear Simes Mini Lobby Professional Simes S.3511N Simes S.5131W
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079
Building Blocks The Lego House has become an iconic landmark, not just for the city of Billund but for Denmark as a whole. We sat down with Jesper Kongshaug lighting designer for the project, to discuss the way that lighting helps to showcase the exhibits inside.
PROJECT DETAILS The Lego House, Billund, Denmark Client: The Lego Group Lighting Design: Jesper Kongshaug Lighting Design, Denmark Architect: Bjarke Ingels Group, Denmark Photography: Iwan Baan, unless stated otherwise
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A
s children, we all played with Lego,
between each structure, filling it with light.
manner of imaginative architectural
a Lego store and an auditorium on the ground
building houses, towers, and all
creations with the colourful bricks.
Inside, the building houses three restaurants, floor. The heart of the centre though comes in
The Lego House in Billund, Denmark, designed
the Experience Zones, which host four brightly
childlike imagination brought to life.
Lego models, and a special exhibition showcasing
by BIG (Bjarke Ingels Group) Architects, sees this With an architectural concept that is the
manifestation of Lego itself, founded in Billund
coloured play areas, alongside a large gallery of
the legendary toy brand’s development history, including 500 of the most iconic Lego boxes
by Ole Kirk Christiansen in 1932, the Lego House
produced.
an irregular pyramid. The façade of the building
bridge between all corners of the exhibition, it also
‘bricks’ has itself been constructed out of Lego.
Copenhagen-based Jesper Kongshaug Lighting
consists of 21 ‘bricks’ stacked together to form
has been designed to look as though each of the 21
The ‘Keystone’ houses the Masterpiece Gallery - a serves as a sky-lit gallery for Lego as an art form.
A special brick, entitled the ‘Keystone’, tops the
Design developed the lighting for this remarkable
traditional 2x4 Lego piece, the Keystone features
own design team, to create a precise, yet subtle
structure. Designed to match the dimensions of a eight skylights, intended to correspond to the buds seen on such a block.
structure, working alongside BIG, as well as Lego’s lighting scheme.
“I tried to find a balance between lighting quality
Built around a 2,000sqm, publicly accessible space
and lighting precision,” said Kongshaug. “But it
number of outdoor roof terraces and two separate
the lighting. You should have a really high quality
called Lego Square, the Lego House features a
outdoor amphitheatres, with seating generated
from the gradual sloped pixelation of two of the building’s main ‘bricks’. Intended to be a city
space, open to both visitors and the general public, Lego Square has no visible pillars, while daylight and the sun’s rays pass through cracks and gaps
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should not be a building where you think about
experience without knowing or thinking about how much effort was put into it.”
Although the lighting is intended to appear effortless throughout, a lot of technical
preparation went into creating the right ambience for each exhibition.
Previous Page An aerial view of the Lego House, located in the heart of Billund, showcases the stacked Lego Brick-like structure of the building. Top Left While the majority of the Lego House features a uniform, homogenous lighting scheme, some areas featured more dramatic lighting. Top Right Kongshaug relied on fixtures from Targetti, as well as Erco and LTS, to illuminate the Lego House with a scheme that was intended to appear effortless, blending into the architecture of the building. Above Throughout the Lego House, Kongshaug varied the lighting’s colour temperature from 3000K in the activity and exhibition spaces to 4000K in the navigation routes, differentiating the various zones, and helping to highlight the bright colours of the Lego bricks.
PROJECT
Above The Lego Square, a 2000sqm publicly accessible space in the heart of the Lego House, features a blend of artificial and natural light, with daylight filtering in through cracks and gaps in the building’s blockwork structure. Below Integrated linear lighting from Targetti provides a gentle illumination to navigation areas, helping to differentiate them from the uniform exhibition lighting elsewhere.
“Each room has its own layout and setup, and everything is thought out precisely to fit that particular quality of that particular room,” Kongshaug explained.
“If you look at it as a normal guest, you perhaps don’t realise that
everything has been customised for that particular role, but it was necessary because we have some quite strong differences in each room’s characteristics.”
A key part of this differentiated lighting came in the adjusted colour temperatures. Although white light was used throughout, it was
shifted slightly from 3000K in the activity and exhibition spaces, and 4000K in the navigation routes.
By lowering the colour temperature slightly for the exhibition spaces, it means that the bright colours of the Lego bricks are properly
reproduced. Kongshaug also worked to consciously avoid glare,
and to get the right balance of shadows depending on each space’s function.
“When there are activities with bricks, we have made sure that there is a soft shadow,” he said. “We achieve this by adjusting at least
three spots indirectly down towards the tables without dazzling. Where the visitors stand or walk, we have created a very vertical
light, which also does not dazzle, but it increases accessibility and security.”
Another important factor for Kongshaug to consider was how to
illuminate the various interactive areas situated throughout the Lego House. These areas use video projections and scanning cameras, and as such the wrong kind of lighting would have caused interference, blurring the video projections and preventing the scanners from recognising Lego figures, as intended.
“We had to make sure that there was a very good transition between the exhibition spaces and these media-based areas where the
cameras and digital projectors take over,” Kongshaug said. “To
counteract waste light and glare, we used black honeycomb grids within the luminaires.”
To create this precise lighting, Kongshaug called on his previous experience working in theatre lighting. “Precision is crucial in a
theatrical space, and that was the case here too, as it was crucial to
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precisely direct the light.”
Kongshaug said that using this, rather than the
directing the lighting throughout the Lego House,
new challenge. “We wanted to challenge the
that none of the exhibitions were in place when
precise colour programming with precise timing
was put up and focused and pointed in completely
system was also utilised to illuminate the Tree of
situation, but we could not come in with the lifts
middle of the building, and is illuminated with a
had been put in place.” As such, Kongshaug and
“We had some challenges to make the DALI
placing the luminaires according to drawings of the
a few adjustments we were able to develop a very
“I could tell that the lighting was coming out
it was a great advantage that we could use the same
installed yet, because I could put my hand in the
Kongshaug predominately opted for Targetti spots
see that it was all working out fine.”
touch with the Italian manufacturers through a
relatively uniform lighting, if alternating slightly
Recessed fixtures from Targetti’s CCTLED
that needed a more dynamic lighting scheme.
equipped with different optical systems and beam
lighting that changes throughout the day from
Kongshaug had for the lighting, as they were used
to all kinds of things, lighting in the houses and
spots were given a special finish, requested by
get the lighting to change in the same rhythm,”
Kongshaug also made use of spots from Erco and
The building uses a DALI 2.0 control system, and
Because of the building’s staggered brick structure,
Although Kongshaug had to be very precise when
preferred DMX system, offered up an interesting
this task was made much more difficult by the fact
manufacturers to give us a spot that would do a
the lighting was being installed. “All the lighting
that wasn’t done by DMX,” he said. This control
empty rooms,” he said. “It was quite an awkward
Creativity, a 50-foot structure that stands in the
and ladders and everything after all the exhibits
number of small RGBW LED spots.
his team spent several weeks calculating and
control work in a good an effortless way, but after
exhibitions.
strong tool. Normally we would have used DMX but
successfully even when there was no exhibition
protocol that is used in the rest of the building.”
space where I knew the experiences would be and
throughout the Lego House, after being put in
While the majority of the Lego House features
local distributor.
in colour temperature, there were a few areas
Architectural range, alongside Ledo projectors
The World Explorer exhibit, for instance, features
openings meet the various requirements that
morning, to daytime to night. “We linked this
to control the play of light, shade and colour. The
trains, in the models and so on, and we had to
Lego, in order to blend into the ceiling. Elsewhere,
Kongshaug said.
LTS.
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Previous Page Alongside the four Exhibition Zones and brightly coloured play areas, the Lego House features an extensive gallery that highlights the legendary toy brand’s development history. Above Although bright and colourful from above, the Lego House’s all white façade grounds the building within the city’s wider framework. The white walls also help to bring out the vibrant colours of the outdoor roof terraces, as well as the Lego models inside.
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PROJECT
and the installation of skylights in several of
used a lot of the things that I learned during the
natural daylight. The recurring use of white
Kongshaug added that it was a particularly
the exhibition rooms, the space is filled with walls throughout add to a visually serene
background, so as not to draw attention away from the vibrant colours of the Lego models
on display. Daylight and shadow calculations
were also made, with filters installed on some windows to control the amount of light that enters, so that it does not conflict with the exhibitions inside.
Since completing work on the Lego House,
Kongshaug has gone on to work on the new
Olympic Headquarters in Lausanne, Switzerland - a project that he won the competition for
halfway through his involvement with the Lego House.
And he said that the experience of working on
such a high-profile project has only helped him. “It definitely was a learning process to be
involved with a big international organisation,” he said. “I won the competition for the new
headquarters partly because I had learned how
to work on high scale projects like that, and I’ve
Lego House.”
exciting opportunity to work on such a project in his home country. “Being from a small
country, you don’t get that many projects
domestically, I normally have to go abroad, so it was good to get it.”
Throughout the Lego House, the lighting is blended seamlessly into the fabric of
the building, complementing the striking architecture perfectly. In keeping with
Far Left The exterior features two pixellated ‘bricks’ that provide a natural seating area for the site’s outdoor amphitheatre. Top Left The Tree of Creativity, a 50-foot structure that stands in the centre of the building, is illuminated with a number of small LTS RGBW LED spots. Top Right Spotlights from Targetti were given a special finish, requested specifically by Lego, in order to blend into the ceiling. Above Left Despite needing the lighting to be incredibly precise, Kongshaug had to install the lighting prior to the exhibitions being in place. As such, he spent weeks calculating and placing luminaires based on detailed drawings of the exhibitions. Above Right Kongshaug worked hard to avoid glare and get the right balance of light and shadow, depending on each space’s function.
Kongshaug’s initial aim for the building to be a
space where you don’t think about the lighting, he said that such a level of integration is “a
fantastic reward when you think about it”, and he is delighted with how it has turned out. “It was a complex solution in a complex
building, where the lighting is quite low profile.
BIG has been very happy with the lighting, and I would say that I’m very pleased.
“It’s something that I can look back on and think that we pulled this one off.” www.jesperkongshaug.com
lighting specified Erco LED 930 profile spots LTS One spots Targetti CCT downlights Targetti Ledo Spot
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project
Sustainable Education The new public library in the centre of Calgary, Alberta, is an educational and physical bridge for the community and provides extensive spaces to be utilised by the everyone. The lighting scheme by SMP Engineering merges daylight and LED harmoniously in the nature influenced architecture.
PROJECT DETAILS Calgary Public Library, Calgary, Canada Client: Calgary Municipal Land Corporation (CMLC) Lighting Design: SMP Engineering, Canada Architect: Snøhetta, Norway, DIALOG, Canada Photography: Jeremy Hainsworth - Hainsworth Photography, unless otherwise stated
067 Pic: Michael Grimm
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T
he new central library in Calgary, Alberta,
and portfolio of past projects played a key role in us being
in the heart of the cultural district of the
“We were approached with an initial concept, which is
Canada, covers an expanse of 240,000 sqft city,was completed in November 2018.
Construction commenced in 2013 for the striking modern structure, which was an award winning design derived from collaboration between Snøhetta and Dilaog, and
captures the city’s desires for a technologically advanced public space.
The $146 million project is the largest public investment for Calgary since the 1988 Olympics and marked the
beginning of a new chapter to develop its creativity,
innovation, knowledge and technology in the rapidly growing city.
The lighting scheme was designed and implemented by SMP Engineering. Bradly Trufen, Electrical Designer at SMP Engineering, described to arc how they became
involved with the project at the beginning: “SMP is the largest company of its kind in Western Canada and has
been around for more than 42 years. I think our services
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awarded this job.
pretty typical. It’s our job to push the limits and try to get as close to the conceptual idea as possible. But the project lighting design is dynamic, it’s constantly
changing until the project is complete – we only get one
shot to get it right. You can’t go back to the client and ask for a redo,” he added.
The building is located on the Light Rail Transit Line and acts as a bridge between the previously divided
Downtown and East Village areas. Acting as a space for social interaction, studying, learning and community
activities, the library is a hub for celebrating inclusivity. “Doubling as a portal and a bridge, the entry plaza heals the previously split seam between the two
neighbourhoods and re-establishes visual and
pedestrian connections across the site,” claimed Snøhetta.
The façade of the structure is cladded with hexagonal
project
Pic: Michael Grimm
modular pieces of fritted glass and occasional
people to quickly grasp the circulation and
pleasing pattern across the curved surface and
the beams and columns are reminiscent of a stoa,
iridescent aluminium that form an aesthetically allow natural light to gently filter through. The entire surface of the building is covered in this
geometric pattern, which suggests there is no one particular front entrance, again reinforcing the goal of the architecture to be unifying and all-inclusive.
When approaching the entrance to the library, visitors are welcomed by one of the largest
freeform timber shells in the world referencing
the Chinook cloud arches that are common to the area, formed from local western red cedar.
Explaining the layout of the building further, Snøhetta described how the wooden archway
“spirals upward over 85 feet to a view of the sky
through the oculus. Wood slats line the perimeter of the open atrium, shaped in plan like a pointed ellipse, serving as an orientation device for
organisational logic of the library. The rhythm of
the public, open-air colonnades of ancient Greek architecture that doubled as spaces of gathering and intellectual exchange”.
The six floors of the library have designated
spaces with varying uses, including a 350-seat
theatre and performance hall. A programme of
lively events, public activities and the children’s library, with play areas, occupy the lower floors, which then gradually transition into quieter
study areas moving upwards until reaching the Great Reading Room on the uppermost level.
Visitors enter this inspiring workplace through a
transitional space of softened light and acoustics. Natural light plays a key role in illuminating this
Previous Page The exterior of the new Calgary Central Library is an impressive piece of modern architecture that blends natural, locally sourced wood materials with aesthetically pleasing white glass panels, allowing the blend of natural light to filter through the building alongside the SMP Engineering’s lighting scheme. Above Left The Children’s Play Place required integrated lighting that was capable of illuminating the space whilst being safe for the kids and creating an engaging space. The lighting specified for the children’s areas inclided SGI’s Accent, Flex and Neon fixtures along with Bartco’s tubular LED fittings. Top Right The Great Reading Room stands as the jewel within the library. With three coves and a back-lit centre oculus, interdepartmental coordination was central to realising its vision. The fittings selected for this space included the Lumencove by Lumenpulse and Lithonia Lighting’s LED Strip Light with Narrow Lens. Above Right Discreetly suspended Metalumen Rail linear luminaires used in concrete with integrated shelf lighting to illuminate the library stacks. Utechnology RLS fittings were used for the bookshelf lighting.
room, peeping through wooden slats that provide glancing sightlines between the atrium and the western façade.
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project
Pic: Michael Grimm
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project
“Our role is to always be creative and to provide options for discussion.” Bradly Trufen, SMP Engineering
Previous Page An exterior view of the library highlights the building’s ability to glow from the inside out in the night hours, but also picks out the spaces where natural daylight filter into the building during day hours. A large array of exterior fixtures were used around the building including: LED Linear’s XOOLUM linear LEDS, VarioLEDs, Lumenfacade fittings by Lumenpulse for the exterior underbelly lighting and the Lumenbeam fitting for the moon lighting. Selux Olivio pole lights illuminate the building’s surroundings. Left The central atrium and skylight with architecture outlined by discreet recessed luminaires. The luminaires accentuate the architecture whilst preserving the influence of daylight. In the open public areas, Lumenpulse’s Lumenalpha fittings were used, Senso Lighting’s Aqualuc’s were used for the stair railings and inner oculus. In the main vestibule, SMP Engineering selected TLS Static fixtures, Cree’s LS4 for the general interior strip lighting, Nemalux BFLED cove lighting and Contech’s CTL fixtures for the occulus main floor.
“Emphasising the interplay between daylight and
like to dwell; I focus on the ideas that stick. We need to
ever-changing Southern Alberta sky. Lighting should be
the team in this regard is a win.”
architecture, the design approach was to embrace the discreet: enhancing and supporting daylight,
maintaining Calgary’s dynamic natural light as key lighting,” explained SMP Engineering.
“Linear LED luminaires suspended amongst acoustic
baffles provide ambient lighting, ensuring illuminance
targets are met. Sloping walkways are lit asymmetrically
with lines of recessed LED lighting tracing exterior walls. LED spotlights and downlights illuminate public art and areas that are out of reach by the aforementioned
techniques. Elsewhere, luminaires are placed directly
above areas requiring illumination: shelving-integrated lighting for the stacks; stairways lit by LED-integrated handrails. Feature lighting denotes distinctive spaces – areas requiring lighting as unique as the spaces themselves.”
“Throughout the design, we sat down and discussed
integration of lighting into the architecture,” reflected
Trufen. “Our role is to always be creative and to provide options for discussion. I don’t think our creativity was ever stifled in any way. It is a bit depressing when you
come up with an idea you consider brilliant and they are
shot down in a moment! But I am an optimist and I don’t
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look at the bigger picture and any place that we can help The addition of dimming and daylight harvesting
throughout the space helps to maintain the illuminance levels, regardless of the time or weather conditions
outside. End-user digital controls allow for control over the entire design, which also ensures the awareness of luminaire usage and energy consumption. The library was built to be one of the most energy efficient
structures of its kind, which played a vital factor in the
designing and fixture choices made by SMP Engineering. “We needed one of the most adaptable lighting control systems on the market,” explained Trufen.
“That meant no proprietary control hardware;
reprogramming with remote access and user interface and a long warranty and support from the manufacturer”.
In terms of designing a scheme for the Calgary Library,
the SMP Engineering team stepped out of the box and, in some areas, did the opposite of what many designers would attempt.
“There is a current stigma in the architectural world for
having visible fixtures. They want the light to appear out of cracks in the architecture. To make this a reality
project
Top Warm light at the entrance welcomes patrons. In-grade asymmetric luminaires (reversed to light the curve) wash the arch, whilst mullion-mounted floodlights outline views to the interior. Left Natural daylight also plays a key role throughout the building. In this public use space, daylight floods through the honeycomb windows with accent decorative and strip lighting to counteract darker days and create a warming atmosphere. Right In double-height spaces, recessed downlighting ensures illuminance, while feature pendants denote the area, filling the height and creating visual interest for those both inside and out.
lighting specified
requires a bit of juggling of the wants of the
lighting under the sprinkler lines. “The
relative codes. We managed by approaching
as to avoid clutter,” Trufen elaborated. “This
client and the architect and the needs of the lighting in all the different methods available
and narrow them down until we have the best
solution. It is a lot of work but it pays off in the end,” explained Trufen.
“The entry vestibule was a new design to me. Typically, we try to hide LED sources, but the limited space in the vestibule didn’t allow
enough room for a proper dispersion of light.
Having even illumination is a trend. Going with a trend doesn’t give you any attention as you’re just in the pack. So, instead of fighting the
design, we embraced it. The end result was like one of those old-time Vegas casino signs. It makes the entrance stand out, inviting and
above all else interesting. I’m sure any lighting designer will scoff at it, but I’m not designing this space for them. This is for the public.”
The team also came across other challenges along the way, such as the installation of
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architect wanted the open ceilings simplified so meant varying lengths in the fixture, which was a nightmare to organise.
“Another challenge was the suspended fixtures in the enclosed public spaces. The doors were
full height, so the fixture needed to be stepped back to avoid the door swing. Sounds easy
enough, but coordinating the length of each piece was anything but”.
Upon reflection, Trufen comments the
challenges and failures are opportunities for
learning experiences and claims they are the
highlights of the project. “I’m excited about the result. Some areas turned out better than I
originally anticipated and others I look back on and consider what I would do different. The stuff that keeps you up at night is the most exciting and rewarding,” he concluded. www.smpeng.com
www.snohetta.com
Bartco BSS501 tubular LED Contech CTL Cree WS4 Cree LS4 GE Lumination LED Linear Xootube LED Linear Xoolum LED Linear VarioLED Lightform Matric Lightnet Liquid Line Lithonia Lighting Lumenpulse Lumenalpha Lumenpulse Lumenfacade Lumenpulse Lumenbeam Lumenpulse Lumencove Luminis Exclipse Maxi Maxilume HHJ4 Metalumen Rail Metalumen Caledoni Metalumen Grande MP Lighting L600 Nemalux BFLED Neidhardt RPD04 Senso Lighting Aqualuc Senso Lighting Leto Selux Olivio pole light SGI Accent SGI Flex SGI Neon TLS Static tension system Utechnology RLS Zaneen Lighting Gilbert
Sunlight Spectru
m
Conventional
Sunlight Spectru
m
info.europe@seoulsemicon.com
PROJECT DETAILS Nurol Life, Istanbul, Turkey Client: Nurol GYO Lighting Design: ZKLD Light Design Studio, Turkey Architect: Hakan Kiran Architecture, Turkey Interior Design: Autoban, Turkey Photography: Yercekim Photography
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PROJECT
Living the High Life Turkish lighting design studio ZKLD has created a minimalist, elegant lighting scheme to complement the new Nurol Life tower complex, comfortably placing it within the wider Istanbul skyline.
L
ocated in the heart of Istanbul, Turkey, Nurol Life is a new complex housing 501 residences and 50 offices.
Completed in 2018, the building stands at 220 metres
high, and is nestled in between the city centre and the
Belgrad Forest.
Due to its proximity to the luxurious elements, coupled with its sleek look and minimalist design approach, Nurol Life is centred on the
concept of ‘Practical Luxury’, with the aim to make life feel easier for its occupants.
Designed by Hakan Kiran Architecture, with interior design from
Autoban, the lighting design for the complex was created by ZKLD Light Design Studio. The main idea for the lighting design was to complement the ‘Practical Luxury’ concept, creating a cosy and
pleasant ambiance that makes people feel welcome on a human scale, while adding to its eye-catching architectural design, highlighting its iconic look on wider the city scale.
Because of the tower’s height and location, the façade was integral to ZKLD’s lighting design right from the start, as Mustafa Akkaya, lighting designer at the firm, explained: “At the beginning of the
project, a mutual exchange of ideas was made with the client and the architectural team.
“During the next phases, we put forward possibilities of light that
could emphasise the structure, and new ideas came in from there. The collaboration of ideas put a great emphasis on the lighting scheme during the whole process.”
The façade lighting for Nurol Life was broken down into three separate parts: the first, the base of the tower, related to the
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PROJECT
Previous Page The apex of Nurol Life, illuminated with linear lines of light to highlight its geometry, while placing the tower in the wider context of the Istanbul skyline. Left The residential lobby features Intra Lighting’s Pipes T L Pro track spots, used to provide general light, while Arlight Light Pads were integrated into the cove details. Below Left A central courtyard serves as a breathing space for office workers. ZKLD implemented ground-level illuminance, with ground washers and spike spotlights, to create a serene ambiance that doesn’t disturb the surrounding office spaces. Below Right ZKLD also designed the lighting for the building’s surrounding landscape. This landscape lighting, featuring fixtures from Heper and Faro, is intended to blend with the building’s lighting scheme, helping to place it within the wider architectural fabric of the area.
common areas and offices on the lower floors, and
Akkaya. “Several mock-ups, where we played with
second part relates to the residential properties
to be done to obtain the desired result.”
how the building is perceived from street level. The in the main body of the tower, while the final part relates to the ‘Pyramid Lounge’, situated at the
building’s peak, and the pyramid form that can easily be perceived in the wider city scale.
At the base of the building, the lighting designed by ZKLD illuminates the entrances with midpower uplights in a move to try and keep the building looking “calm and elegant”.
To accentuate the silhouette of the building, while retaining a minimalist appearance, the main
body of the tower is lit from the corners. This
illumination was achieved through the use of
very narrow, 5-degree Philips Color Kinetics LED
projectors at 3000K that were placed at the bottom corners of the tower.
The other application for façade illumination
created by ZKLD was to highlight the surfaces of
the balcony sidewalls with Assan line Power Plus
graze lighting fixtures recessed on the floor of the balconies.
“It was a great challenge to graze the surfaces
homogenously whilst preventing light spill going through the windows of other residences,” said
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the lenses of 3000K linear power LED fixtures, had The graze lighting on the façade helps to
showcase the stone cladding materials; with the graze lighting effect, the texture of the stone is
highlighted, helping to break the monotonous look of the tower.
The tower-topping Pyramid Lounge is the most attractive part of the project, not just for the
building inhabitants, but also in highlighting
the building amongst the city’s skyline - and it is particularly notable for its geometric shape.
To highlight this geometry, and give the building an iconic status within the city, lines of light,
underline the shape of the pyramid. However,
while these light lines give a message to the wider city, it was important for the reflected lights and visible fixtures not to disturb inhabitants who spend time inside the pyramid.
To make this a reality, a special profile was
designed between two glass panels to conceal
linear lighting fixtures. With the Philips Colour Kinetics RGBW, pixel-controlled LED fixtures,
the designers are able to create special lighting scenarios for special events and national
Wall Director
Altitude
Ouro
Pavilion
KFL3
Kim Evolution www.kimlighting.com
Copyright Š 2019 Kim Lighting, a division of Hubbell Lighting, Inc. All rights reserved.
kl_family_Arc_Ad_061119.indd 1
6/11/19 3:42 PM
â&#x20AC;&#x153;Light is an instrument that brings a dramatic effect to a space, but it has to fit with the natural aesthetic of the building.â&#x20AC;? Mustafa Akkaya, ZKLD Light Design Studio
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PROJECT
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Previous Page The pool terrace features rhythmic light beams and an array of linear light effects, courtesy of Vibia’s Meridiano Series, that boost the combination of light and shadow, while underlining the linear form of the architecture. Above Left Very narrow, five-degree Philips Color Kinetics LED projectors at 3000K were placed at the bottom corners of the tower, accentuating the silhouette of the building, while complementing its minimalist appearance. Above Right For the office entrance, ZKLD aimed to use lighting to create a highlighted entrance, without distorting the visual perception of the interior. To do this, illumination was kept below eye level through short bollards with double-sided light distribution. Far Right The lighting designers kept the illumination uniform and minimalist throughout, bringing a dramatic effect to the space, while complementing the natural aesthetic of the building.
holidays, while retaining a sleek, minimalist look
For the main entrance of the building, the aim of
This minimalist approach is something that was
entrance, without any distortion on the visual
throughout the majority of the year.
very important to ZKLD, as Akkaya explained:
“Light is an instrument that brings a dramatic
effect to a space, but it has to fit with the natural aesthetic of the building.
“We aimed to keep this drama elegant and
minimal, by illuminating the building modestly from the inner side balconies, and the iconic geometric shape on the roof.”
Alongside the façade illumination, ZKLD created
a lighting scheme for the surrounding landscape, extending the simple, relaxed aesthetic, while
adding to the cosy atmosphere that the designers wished to create for residents.
This landscape lighting is blended with the
tower, and constitutes the front of the building, a courtyard in the middle of the office space, a pool terrace and the rooftop. For each of these areas, a colour temperature of 3000K was chosen to
complement the façade lighting, while creating a series of cosy and serene ambiances.
As part of this landscape lighting scheme, Heper Vesta S and Norma luminaires were used to
highlight the road and pedestrian paths, while Faro Shadow LEDs created effect lighting on the grass.
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the lighting design was to create a highlighted
perception of the interior. Keeping illuminance
below eye level was the essential idea of this area’s lighting concept; therefore short bollards with double-sided light distribution were used.
The courtyard, with its small water feature at
the centre, is an important breathing space not
only for office employees, but the inhabitants as a whole, due to its location. To create a ground-
level illuminance, so as not to disturb the office
employees while they are working, floorwashers and spike spotlights were chosen to create the desired level of ambiance.
Another spectacular part of this project is the
pool terrace: in this area, repetitive linear forms
within the architecture served as a starting point for the lighting concept, while Vibia’s Meridiano Series creates warm, cosy and light-shadow
effects on the surfaces, as Akkaya explained: “The rhythmic light beams are constituted to create a
dramatic atmosphere. The wall sconces that have 360-degree linear light effects are also used to
boost light and shadow, underlining the linear form of the architecture.”
At the rooftop, as with the rest of the project,
PROJECT
cosiness and simplicity were the main factors
structure in the centre of a metropolitan city,
and downlighting fixtures with different
be affected by its surroundings all the time.
in the lighting concept. The use of both up
light distributions were used for the pathway
lighting; as the wider beam helps to illuminate
the canopy, narrow beam fixtures help to create a dramatic atmosphere with rhythmically lit
pillars to guide people through the pathway.L&L
Luce&Light’s Step 6.2 floor-recessed luminaires were used to create this rhythmic effect across the terrace level.
Apart from these up and downlighting fixtures, all luminaires are kept below eye-level:
illumination in other parts of the rooftop
includes one-sided floorwashers at the side of the walkways, while a diffuse light emanates
from the vegetation lighting. Special bollards, again fitted with 360-degree light effects, are used to continue the light and shadow motif
present in the pool terrace, therefore keeping
the whole lighting design integrated within the architectural language of the landscape.
Such integration was essential for placing Nurol Life into the fabric of the city as a whole - a key facet of the initial concept. “Lighting elements were mainly chosen in accordance with the
conceptual idea,” Akkaya said. “Nurol Life is a
therefore we needed to keep in mind that it will “For this reason, we were very careful with the surrounding buildings and as such we
differentiated lighting levels according to the
needs of each space. On the different layers of the building, such as the balconies, indirect
lights were chosen to avoid visual discomfort during the design development process.”
Akkaya added that ZKLD’s close relationship
with the architects, developed from previous
projects, helped to make the whole process as streamlined as possible.
“In every project, the essential point is the conceptual idea: there are different ideas
inspired by each project, its people and its surroundings. For Nurol Life, we aimed to
enhance the architectural details by using the power of light.
“Lighting design played an important role in reflecting the ideas of the project, and
seeing this minimalist and elegant touch in the silhouette of Istanbul is a great feeling.
Alongside this, Nurol Life has a unique place as its own reflection in the heart of the city.” www.zkldstudio.com
lighting specified acdc Plaza 35 Arlight LightPad Assan Line Power Plus (custom made) EMFA Belkis 3/4/5 Faro Shadow LED Heper D-Light Heper Norma L Heper Vesta S 8LED Intra Lighting Pipes T L Pro Leds C4 Play Optics L&L Luce&Light Bright 1.6/2.0 L&L Luce&Light Goccia L&L Luce&Light Rondo 2.1 L&L Luce&Light Step 6.2 Philips Color Kinetics Prolux PLED (custom made) Reggiani Cells Simes Skill Square Vibia Meridiano Series %100 Light Zazoo
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Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced
Light of London We take a look at some of the lighting events and showrooms from Clerkenwell Design Week (CDW) in London this May.
Showroom Applelec
Applelec used CDW as the focus for the launch of its new lighting
showroom, located at The Old Trading House on Northburgh Street in
Clerkenwell. The showroom features the company’s LED Light Sheet, FlexLogic and OLED ranges, along with fully bespoke LED neon-style product, NeonLux, which can be specified by lighting designers and
architects for a wide range of internal signage and creative branding. The showroom is a collaborative partnership between a group of companies working in the office fit-out sector with Applelec’s architectural lighting products installed alongside bespoke or
customisable office furniture. The integration of Applelec’s LED and
OLED lighting products demonstrates the suitability of these lighting systems within the modern workspace.
Providing a London hub for Applelec’s activities, the space is
managed throughout the week to enable clients to drop in without appointment. The company is also extending hospitality to its
regional clients by providing access to the showroom for companies without a London base to host meetings and events. www.applelec.co.uk
darc thoughts
darc magazine
Part of this year’s Light exhibition held at fabric nightclub, darc thoughts@CDW was a
three-day talk programme curated by darc magazine’s Editor, Helen Ankers. The talks covered all aspects of lighting across hospitality and residential design.
Talks included: Realising a Design Vision with Architectural, Decorative and Bespoke
Lighting with Darren Orrow of Into Lighting and Karen Taylor of Design LSM; Outdoor
Lighting - A Designer’s Guide with Simeon Chilvers of Cameron Design House and Sally
Storey of John Cullen Lighting; Design with OLED with Balint Bolygo and Elod Beregszaszi of Kintech Design and Sandi Moolman of Applelec; Women in Design - Moderated by WiL UK Ambassador Greta Smetoniute of Michael Grubb Studio and panelists Lauren Lever of Foundry, Katia Kolovea of Urban Electric, Anna Kharchenkova of Light Bureau and Faye
Robinson of Enigma Lighting; The Defining Light of Hospitality - Moderated by Paul Nulty with panelists Constantina Tsoutsiko of HBA, Roman Zakovsky of Lasvit, Sofia Hagen of DH Liberty and Tom Hupe of Perkins and Wills. On the final day, Lighting Your Life was
moderated by Harry McKinley with panelists Anna Burles of Run For The Hills, Monique Tollgard of Staffan Tollgard Design Group and Sanjit Bahra of Design Plus Light; and Fit
For Purpose, also moderated by McKinley with panelists James Roberts of James Roberts
Design Studio, Tony Matters of Faber Design and Nick Hoggett of dpa lighting consultants. Pics: Sarah Cullen
www.darcmagazine.com
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EVENT
Live Colour T
Liz West
For the duration of CDW, British artist Liz West teamed up with flooring
company Domus to create a new vivid and eye-popping installation, Live
Colour. Working against a minimal backdrop of white porcelain slabs
at Domus, West imagined a space with changing blue, pink, green, red
and orange washes of colour, against a white floor and walls, with ‘pure’ white light as part of the cycle to normalise the overall colour intensity. Using Rosco’s patented SL1 Mix LED technology to create accurate
Rosco gel matches, thousands of visitors to Live Colour experienced
pure colour in an immersive environment like never before. Each colour lasted for 22 seconds before quickly changing, giving your eyes just long enough to get used to each hue before snapping to the next. www.liz-west.com
Peep Show
Future Designs Future Designs office turned into a gallery when they displayed Peep
Show, an installation by kinetic artist Giles Walker.
The space, dubbed the Clerkenwell Lighthouse, is located on
Dallington Street. The installation, which features robotic sculptures that dance, was created ten years ago as a comment on the
perverseness of some advancing technologies and their surveillance capabilities. From Walker’s perspective the dancers represent
forms of society today:“There are parallels with the themes that
run through my work and the physical creative process. Over the
past 27 years that I have been making moving sculptures there has been a direct correlation between the technological progression of
my work and the technological progression in the recycled material
available. So, not only do my sculptures allude to displaced, rejected
and redundant themes surrounding society, but they are also made of this very thing”.
www.futuredesigns.co.uk
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EVENT
BottleHouse
BDP
BottleHouse was designed and built by small.| Six Miles Across London in
collaboration with WSP, with lighting by BDP. It used recycled materials
to provide off-grid shelter designed for real-world applications, to raise awareness of sustainability and human displacement.
Integrating into small.’s goal of a recyclable circular economy, BDP
used opaque plastic milk bottles as diffusers to house and protect the
low voltage light sources. This created soft glow lanterns that provide
comfortable, homely, usable light that is completely powered by the sun using solar panels. The idea is that discarded lighting samples and site waste such as LED tape off-cuts and plastic bottles can be saved from
going to landfill or ending up in our oceans. The design approach is based upon simplicity to enable further development of the lighting solution to be applied to any temporary off-grid accommodation.
BottleHouse is a beacon of awareness and positive change. Using
creativity, invention and innovation to tackle two of the world’s biggest issues - sustainability and human displacement. It is a seed planted to sprout further ideas to be nurtured by all.
Pics: small.| Six Miles Across London Ltd. www.bdp.com
Pareidolia
Studio Fractal
Pareidolia is a collaborative installation by Jestico + Whiles, Porcelanosa, Studio
Fractal and Architainment Lighting. It is an immersive sculpture exploring concepts of movement, memory, and pattern with a large-scale digitally
fabricated installation made out of Krion, a stone composite derived from natural
minerals. It is an experiment in storytelling; entwining past and present together by fusing solid materiality and the ephemeral immateriality of light, exploring our personal understanding from the patterns, shapes and colour. Subtly
evocative illuminated movement animates the solid form, encouraging viewers to imagine multiple forms and sinuous movement. Pic: Aurelien Thomas www.studiofractal.co.uk www.architainment.co.uk
Reflect Us BEAU
Reflect Us, on show at fabric nightclub as part of Light, was an opportunity to
look deeply, externally and internally. We all have insecurities; passions; our sights set on something. We all have eyes, and yet how often do you look deeply into the eyes of a stranger?
The art installation was crafted from macro photographs of eyes of the homeless and Bega’s Plug & Play Lighting range supplied by Optelma
Architectural Lighting. This installation was a gateway to eyes that are
sometimes hard to look straight into, and aimed to shorten the distance
between us, stripping away preconceptions of homelessness and focusing on
our shared humanity. BEAU invited visitors to question how simply making eye contact can change someone’s day for the better through shared experience. www.reflectus.art
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Busy?
The all-new Vode ulo. For wherever work takes you. A surefire way to get stuff done is to break big tasks into smaller pieces. Thatâ&#x20AC;&#x2122;s the idea behind ulo, a light with an ingenious system of mounts and anchors that lets you attach it to tables, walls, shelves â&#x20AC;&#x201D; wherever you need it. Color temperature and brightness are adjusted with a wave of your hand. All this plus 456 lumens of output, 2700-5000K CCT and 94 CRI have the industry abuzz.
30 Years Young! Returning to the Pennsylvania Convention Center in Philadelphia, LightFair International celebrated its 30th anniversary with a packed out exhibition showcasing the finest lighting products from around the world. Celebrations were in full flow at the Pennsylvania Convention Center in central Philadelphia for the landmark 30th edition of LightFair International (LFI), the USA’s leading architectural and commercial lighting trade show and conference. Thousands of visitors from around the world flooded into the LFI exhibit halls to get a closer look the latest products and knowledge transforming the future of light and technology, from more than 550 exhibitors. As always, the show opened with the prestigious LFI Innovation Awards, setting the stage for the following few days and highlighting the industry’s most innovative products and designs introduced over the past twelve months. The 2019 LFI Innovation Awards saw entries spanning fourteen categories, with each submission judged by an independent panel of lighting professionals. The sixteen winning entries exemplified the best in innovative design and thinking with Ecosense Lighting winning the Most Innovative Product of the Year for Lore, its full array downlight family. www.lightfair.com
Flood One EO Acclaim Lighting The Flood One EO is a high output, IP66 rated white LED floodlight in a very lowprofile design, intended to fit into small spaces for façade lighting applications. Available in multiple colour temperatures (2,700K, 3,000K, 3,500K and 4,000K), it features a standard 10° beam angle with optional spread lenses of 20°, 40°, 60° and 10x60° for custom lighting applications. The Flood One EO performs at temperatures between -40°F to 125°F, and maintains 70% of its lumens for 150,000 hours. www.acclaimlighting.com
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Cadiant Cree The Cadiant dynamic skylight recreates the experience of being under a natural sky with remarkable realism, creating the sensation of natural sunlight and a blue sky in interior spaces via a virtual skylight experience. Cadiant uses advanced lighting controls in combination with multi-dimensional LED panels and colour-changing technology to simulate the natural dawn to dusk, east to west arc of the sun, providing a valuable sensory connection to the outdoors for people working in spaces without access to natural daylight. www.creelighting.com
Lore Ecosense Lore from Ecosense won ‘Most Innovative Product of the Year’ at Lightfair International. With Lore, Ecosense debuts its latest technology, including auto sensing protocol, 0.1% standard dimming, low glare/high control optics, and Lingo, a plug and play digital bus. All developed to simplify specification and save time. Lore is a full array downlight family with two aperture sizes. Ecosense offers recessed housings, trims, and the Lore cylinders include wall, ceiling, and suspended luminaires. www.ecosenselighting.com
FLXible Neon Feelux Lighting FLXible Neon by Feelux features LED lighting with spot free illumination in a flexible form. Available in 2,700K, 3,000K, 3,500K and 4,000K, its flexibility permits horizontal or vertical bending depending on product type. A convenient cutting line offers special customisation, providing maximum possibilities to fit for the requirements of its specific length and height. The range is suitable for both indoor and outdoor use, with an IP67 rating. FLXible Neon can be applied in many areas such as hotels, malls and building façades. www.feelux.com
lightfair international
Luxeon Fusion Lumileds Combining the needs of many tuning technologies, including dim to warm and dynamic tuning for human centric lighting, Luxeon Fusion addresses colour temperatures from 1,800-10,000K with high CRI (>90 over 95% of range) and high colour fidelity. Customers can now leverage the Luxeon Fusion platform technology, which unites white colour selection, dim to warm capability, SKU reduction and dynamically tunable white lighting - all designed for mass adoption, in one single solution. www.lumileds.com
Eminere Anolis Robe Eminere is designed by Robe for a wide range of exterior and interior applications. The various available lense options cover all possible uses from floodlighting, wall grazing, wall washing and accent lighting. Robe’s 18 bit colour mixing resolution ensures extra fine colour tuning as well as smooth dimming and low level intensity. Available in 300/600/900/1,200mm with RGBW or RGBA single chips as standard, Eminere is easy to control with 1 pixel per foot. www.robe.cz
Dawn Intra Lighting Dawn combines the precision of design with uncompromised technical finishes. The light that it emits resembles the morning dawn. It is indirect, dispersed. Its source is craftily hidden under an elegant edge leaving luminaire’s interior clean, constructed with considerable attention to detail. The elegant and mindful design of the luminaire Dawn has been awarded three noteworthy recognitions by Good Design Tokyo, Good Design Chicago, and by Red Dot Award. www.intra-lighting.com
S2F Series LensVector The LensVector S2F Series enables dynamic beam shaping between a 15° spot and a 35° flood. The new series complements LensVector’s first offering - the M2M Series. LensVector now offers all lenses in a smaller 35mm option that complements the current 48mm and 65mm lenses. With LensVector’s liquid crystal lens, luminaires can smoothly broaden beam size via wireless or wired control. www.lensvector.com
Image Spot Mini Rosco The newest member of the Rosco Image Spot family of LED gobo projectors, Image Spot Mini, is lightweight (2.2 lbs /1.0 kg) and has an ultra-compact form factor measuring 131.2mm x 89mm x 108.55mm, making it an ideal fixture for discreet spot lighting and vivid gobo projection. Image Spot Mini will be available to ship this autumn in three IP65 rated models: 3,000K, 5,500K and UV. www.rosco.com
Ola Sonneman Ola is a modular system of softly flowing, linear elements that can be suspended individually or connected in multiple arrangements. Ola’s delicately-bowed LED luminaires can be suspended in multiple linear configurations of one, two, three or more connected luminaires. Additionally, an infinite variety of hexagon, honeycomb and abstract configurations can form incredibly interesting and scalable webs of flowing illumination across a plane of larger space. www.sonnemanawayoflight.com
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Vesta Flex Bridgelux Vesta Flex is a family of dual channel LED drivers and control modules designed to simplify and reduce the cost of connected tunable white luminaires. Compatible with industry standard wired and wireless lighting control protocols, including Wi-Fi, Bluetooth, DALI and 0-10V, the Vesta Flex system enables simplified, future-ready design flexibility for OEM luminaire manufacturers to meet the needs of their end customers without requiring redesign or recertification. All Vesta Flex control options provide independent tuning of intensity and CCT. www.bridgelux.com
KFL Architectural Flood Kim Lighting The Architectural Flood is the newest member to Kim Lightingâ&#x20AC;&#x2122;s full outdoor lighting portfolio. The KFL is available with six distinct static white and seven RGBW distribution patterns. With lumen outputs ranging from 2,000 to 20,000 lumens and impeccable architectural finishes, this luminaire can highlight any beautiful surrounding to create a breathtaking scene. This striking, timeless form seamlessly blends high performance optics, controls, scalability and architectural mounting options that cover a variety of applications and enhance their environment. www.kimlighting.com
Aerial Soraa Lighting professionals desire versatility and control when designing spaces. Even the smallest nuance can have great impact on the overall effect of a space. Soraa Aerial addresses these needs, boasting minimalistic, symmetrical and stylish product design details with precision and beautiful light quality. The luminaire portfolio features a unique, completely removable light module that can be switched out without disrupting existing construction, and features fully integrated toolless on-board dimming. www.soraa.com
Augusta Ligman Augusta is a new elegant architectural frame family from Ligman. Designed in three sizes for both Wall surface mount and as a range of Bollards, Augusta has glare-free concealed asymmetric optics in a refined and chic solution to compliment contemporary urban spaces. Integral drivers, IP65 Dust Tight and Jet-Proof and conforming to DIN, VDE, IEC Class-1. Augusta is constructed in LM6 DieCast Aluminium with a chemical chromatised powder coat protection and durable silicone gaskets for high corrosion resistance aimed at use in any exterior environment. www.ligman.com
CXM Pico-COBs Luminus Luminus has expanded its Gen4 LED COB portfolio with two new Pico-COBs with high output and very small light emitting surfaces (LES) that enable spotlights with compact form factors, narrow beam angles, and high centre beam candle power. The new PicoCOBs enable fixtures with viewing angles as narrow as 3-5° and produce high flux density that is so important for high qualityof-light directional lighting applications such as retail, museum, residential and hospitality lighting. www.luminus.com
STICK-KE2 Nicolaudie The STICK-KE2 is the latest wall-mounted DMX lighting controller from Nicolaudie Architectural. Based on the successful STICK-KE1, it offers a beautiful new glass design. Featuring 1,024 DMX channels, an Ethernet connection for remote control or integration, a built-in clock for calendar triggers and more, the STICK-KE2 is the perfect all-in-one lighting controller for your projects. www.nicolaudie.com
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Bridging Light and Life
™
dynamic lighting solutions
Personal. Customizable. Tunable. Vesta® Flex is a family of dual channel LED drivers and control modules designed to reduce the cost of connected, tunable white luminaires. Interoperable plug-and-play controls will meet the demands of any lighting project. Vesta® Flex Driver Options
30W Brick with 2 Channel Output 60W Brick with 2 Channel Output 60W Linear with 2 Channel Output
Control Options
WiSilica Enabled BLE Mesh Control WiZ Enabled Wi-Fi Control DALI DT8 Control 0-10V Control
Optimized For
bridgelux.com
Vesta® Series Tunable White Array and Linear
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.
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iald awards
And The Winner Is... During LightFair Interntional, the IALD welcomed luminaries of the lighting world to Philadelphia’s Crystal Tea Room for the 36th annual International Lighting Design Awards, where 23 projects from twelve countries were honoured - including exteriors, interiors, workspaces, museums, hospitality sites and places of worship. Lighting Design International picked up the Radiance Award for their beautiful design of the Kimpton Fitzroy hotel in London.
RADIANCE AWARD
Project: Kimpton Fitzroy, London, UK Lighting Design: Lighting Design International, UK In creating the lighting scheme for the Kimpton Fitzroy, Ben Ferris
Lighting effects are repeated across levels in part because of the
warm and inviting, yet incredibly intriguing entrance for a building
hotel’s vicinity. These frame each façade, illuminating the structural
and his team at Lighting Design International have engendered a that has stood the test of time.
The Kimpton Fitzroy boasts a thé-au-lait terracotta façade, whose
complexity rivals the palatial interior of the London hotel. Lighting
the exterior required a design that was both complex, yet restrained enough to highlight rather than muddy the exquisite façade’s individual features.
A combination of low and high-output fittings are used to balance the intensity across the entire building. These effects were
considered both from the perspective of the entire building, as well as on each individual level, creating linear compositions of light.
Judges noted that the project exhibited a “restrained elegance”, a
tribute to the incredible architecture of the building. The designers used this architecture to conceal the fittings, so as not to distract from the rhythm of the lighting scheme and the building itself.
limited viewing angles, due to the trees and other buildings in the lines of the building. Further strengthening the frame of the
building, each window includes highlighters aimed at the corners
of the building, positioned to ensure that they do not spill into any guest rooms, preserving the interior ambience.
The overall effect on the warm terracotta offers guests and admirers
an opportunity to see the depth and dimension of the features as the combination of strategically placed uplights and highlights creates dramatic shadows and points of interest.
Rather than overwhelm, the project demonstrates how an otherwise intimidating building can be “made beautiful and simple with
thoughtful considerations”, said one judge. “It is about lighting the key elements and selecting elements that they do not illuminate as well, providing beautiful layerings of light.”
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AWARD OF EXCELLENCE
Project: Antwerp Cathedral and surroundings, Antwerp, Belgium Lighting Design: Susanna Antico Lighting Design Studio, Italy In 2018, Antwerp celebrated the 500th anniversary of the construction of the tower of the Cathedral of Our Lady. To mark this occasion, a new lighting design by Susanna Antico Lighting Design Studio was revealed. The scheme fully complies with Antwerp’s overall master design plan, an initiative that aims to minimise light pollution, utilise sustainable lighting practices and showcase the stunning architecture of the city. Because the building can be seen from multiple parts of the city, linear LED floodlights integrated into the façade dramatically light the building at night, making it a focal point of the skyline. During the day, these lights are not visible and do not hamper visitors’ appreciation of the stunning architecture of the cathedral. Eliminating glare and light trespass, while still highlighting distinct features and emphasising the geometry of the building required a hierarchy of lighting that shows beautiful composition and balance. The rich details in the architecture are seen more clearly in the white light of the new fixtures, whereas the old yellow fixtures often magnified the building, blurring rather than sharpening. Multiple judges noted that this harmony of detail extended to how the cathedral fits in with the cityscape and the other historical buildings that surround it. Balancing luminaires from their own scheme as well as shifting the master lighting plan of Antwerp was no easy task. Meanwhile, updates to the street-level lighting, as well as lighting in the surrounding areas, adds to the ambience, creating an inviting public space and another place to stop and marvel at the cathedral itself.
AWARD OF EXCELLENCE
Project: Bloomberg European Headquarters, London, UK Lighting Design: Tillotson Design Associates, USA A combination of spirals, vortexes, petals and other patterns of nature form the design principles behind the Bloomberg European Headquarters. Pick any feature of the environmentally design-driven building and find beautiful, intricate composition. The ceiling, for example, was noted by one judge as a “beautiful reimagining”. Throughout, the scheme cleverly uses layers of lighting to create a sense that the building is alive, self-illuminating, and that perhaps the light emanates from the hypotrochoid ramp, the continuous three-dimensional loop that forms the interior structure of the building. The two lower floors utilise edge-lit, crystalline fins that sparkle, a key component of the larger sandstone frame of the building. The lighting of the upper floors is composed of a perimeter system featuring rich bronze and stone soffits. In both areas, intricacy is essential as lighting designers, in collaboration with the contractors and architects, layer and superimpose elements of light, sound and temperature to reflect nature, creating a workplace that has the environment and continuity as its ethos. The sheer drama of all the curves used in each component is a constant motif for the entire building and is supported by the sustainable lighting design that exists throughout. The flow of light and the building’s shape mimic the river that once flowed through this site, which was once also home to an ancient temple. Bloomberg European Headquarters showcases what happens when designers, architects, engineers and planners are given free reign to truly push the envelope of design and collaborate to make a building that surprises and delights.
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iald awards
AWARD OF EXCELLENCE
Project: Emerson College Student Dining Center, Boston, USA Lighting Design: Cline Bettridge Bernstein Lighting Design, USA Lighting elements with theatrical roots permeates the Emerson College Student Dining Center with a warmth and energy aimed at encouraging students, staff and guests to engage in a range of activities, from rehearsing to socialising. Reflecting the expressive nature of the art school, the team at Cline Bettridge Bernstein Lighting Design selected dramatic lighting effects throughout the space, generating a youthful, modern and creative vibe. Glowing, abstracted proscenium arches stretch between the upper and lower floor, creating a unified space. This design lives on the ribs of a former industrial building, utilising linear fixtures that alternate with linear pendants the articulate the proscenium shape. Meanwhile, accent lights in the fly space highlight the brickwork and theatrical uprights mounted between the beams, and create a cadence across the dining area, showcasing the interesting structure of the space and giving a warm, comforting glow. Additional theatre motifs include the brightly lit stairs between the two levels and the sleek wall sconces along the perimeter, while track fixtures that match the ceiling and mechanical elements offer more lighting for tables. Elsewhere, the lounge’s large custom hoop fixtures offer a sparkling ceiling composition that contrasts with the rectangular and linear motifs of the dining areas, highlighting the vast and changing tones of all performances. Embedded between the hoops are luminous textile ceiling fixtures that transmit video. Lighting programmes provide colours, patterns, impressionist images, or even outdoor settings, giving and open-air feel to the underground lounge. Judges commented that “details are well integrated, carefully thought out and tactfully restrained”. Designers hit the ideal balance between emphasising a theme and being multifunctional. The variety of lighting effects and placements give space for multiple moods and ambiences, making the space flexible for multiple uses.
AWARD OF EXCELLENCE
Project: Gasholders London, London, UK Lighting Design: Speirs + Major, UK Designers from Speirs + Major use a play of light and shade to
juxtapose the old and the new at Gasholders London - the industrial architecture of the three historic cast-iron frames and the
contemporary interiors of the triplet of residential buildings.
Through close collaboration with the architects, engineers and
contractors, the lighting design demonstrates a focus on integration with few visible fixtures and an intentionally integrated approach.
The few fixtures that are visible reflect the design of the building by being in the form of custom, unique glowing tubular lanterns.
Multiple lensed LED sources highlight the architecture, flowing up
the front face of the columns, and allowing the centre external space
to shine so that the frames appear positively lit, like a glowing heart. Inside, a simple wash of tunable white light illuminates the atria from a concealed cove. The lights are programmed to shift based
on the time of day, allowing residents and visitors to reflect on the
sky above and the artificial light below. The atria also feature linear
lighting set beneath wedge-shaped internal landscape elements that provide functional light.
In contrast to the sharper industrial exterior, the apartment lighting is softer, more human while still functional. Each apartment has a
custom-designed entrance light with a paper filter that sits within a textured diffuser. This choice demonstrates the designers’ desire to reproduce both human and industrial scale throughout the project.
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AWARD OF EXCELLENCE
Project: A Family of Bridges, Riedlingen, Germany Lighting Design: Schlaich Bergermann Partner, Germany What began as an effort at flood protection for the town of Riedlingen turned into a forward-thinking collaboration between city planners, engineers and the team of lighting designers at Schlaich Bergermann Partner. A family of bridges offers three entry points to the town, each showcasing a combination of landscaping and lighting design that emphasises rather than detracts from the natural features and landscape that the town’s residents hold dear. The lighting scheme for each bridge focuses on balance, with a blend of ambient, reflective properties that complement the comforting, modest glow for crossing pedestrians. Discrete lighting transforms each bridge into a striking architectural feature. The design demonstrates an attention to the overall needs of a collaborative project, highlighting the natural scenery and the modern advancements represented by the family of bridges. With a scheme that increases in intensity and height as traffic increases, the lights mirror the ebb and flow of life in a thriving town.
AWARD OF EXCELLENCE
Project: Gateway Arch Museum, St. Louis, USA Lighting Design: Tillotson Design Associates, USA In lighting the underground plaza at the Gateway Arch Museum, Tillotson Design Associates sought to create a design that would mitigate the contrast with daylight, smoothly transitioning visitors from the vast, unobscured park and plaza, through the glazed entrance to the underground floors. The ceiling became the highlight of the design, described by one judge as “a fantastic expression of the architectural form”. The design smoothly flows into the curve of the plaza, itself a reflection of the Saarinen-designed Gateway Arch. The lobby ceiling is composed of tunable white LEDs that are integrated and concealed in aluminium tubes. Multiple runs are separately zoned for gradual dimming or alterations to colour temperature as the ceiling curves towards the exhibition space. The design also includes glowing perimeter light coves inside each of the coffers, creating a transition space between the dark exhibition and the low-lit underground tram entrances. The scheme is a demonstration of how to extend liminal and transitional spaces via lighting, to ensure a smooth and comfortable experience for visitors so that the lighting is not oppressive or overwhelming, but a gentle, guiding presence.
AWARD OF EXCELLENCE
Project: Lounge Bridge in Shimen Village, Zhejiang, China Lighting Design: School of Architecture, Tsinghua University, China; One Lighting Associates (Beijing), China The lighting and architecture of the Lounge Bridge in Shimen Village bring together the old and the new, with architects and lighting designers wishing to honour the past by retaining the old concrete bridge and creating a new lounge walkway. The walkway, primarily made of wood, is structured to share environmental continuity with the houses that exist on either side of the river; its newness echoing the past. The team at One Lighting Associates and Tsinghua University’s School of Architecture designed a scheme that serves multiple purposes depending on the day of the week. On a typical weekday, only safety lighting is used, out of respect to the rural nighttime environment. These safety lights lend a soft, warm, indirect light that diffuses thought the passageway. Passersby are enveloped in a calm, quiet environment while from a distance, the bridge appears like a dotted line stretched across the river. During the weekend, each of the wooden structures is illuminated to resemble a brightly-lit, market atmosphere, through embedded, dimmable 3000K linear LEDs luminaires covered in an opalescent acrylic. This design is aimed towards revitalising the local rural economy by transforming the bridge into a place of congregation, offering new avenues for the village’s economy and spurring growth.
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AWARD OF EXCELLENCE
Project: London Mithraeum, London, UK Lighting Design: Tillotson Design Associates, USA; Schreiber Studio, USA This three-level immersive London Mithraeum exhibit showcases thousands of relics, and the lighting design here plays a functional, as well as narrative role, marking the boundaries of the ancient space. Tillotson Design Associates and Schreiber Studio worked with architects, exhibit designers, engineers and a light artist to create a space that is remarkable and inspirational. Entering from street level, visitors move to the mezzanine level, where projected figures emerge from the shadows into light. To ensure that ambient light does not distract from the projections, under-bench lighting and very low brightness LED downlights are used throughout the level. In the lower level, walls of structural light rise over the foundation remnants of the temple and the haze of theatrical fog gives the light beams their physicality. Light is aimed horizontally onto a series of concealed mirrors and the plane of light is then interrupted by baffles to create portals. The altar of the temple has five layers of cantilevered steel so that each silhouette is illuminated. With multiple forms of light and innovative treatments, Tillotson Design Associates and Schreiber Studio delivered not just a lighting design, but an immersive light experience.
AWARD OF EXCELLENCE
Project: Meixi Urban Helix, Changsha, China Lighting Design: Office for Visual Interaction, USA Like a stream of water, a continuous, uniform band of light wraps around the curved structure of the Meixi Urban Helix. The building merges the natural elements of water with the man-made force of urban development, and Office for Visual Interactionâ&#x20AC;&#x2122;s design acts as a natural extension of this architectural language, immersing visitors in light as they enjoy views of Lake Meixi. The primary feature of the design is the glowing, infinite gesture of light that flows through the outer spiral of the building. This notion of infinity is further emphasised by keeping all other structural elements dark in contrast. Concealed linear LED cove uplights illuminate the ramp canopy to create this spiralling ribbon, while the visual depth stems from RGBW capable luminaires that are adjusted to distinguish the outer ramp surface from the inner surface. On the inner rampâ&#x20AC;&#x2122;s perimeter, miniature marker lights sparkle and guide visitors up and down the helix. Because of their low-level illumination, they do not disrupt the panoramic nighttime view for visitors. Elsewhere miniature in-grade LED uprights highlight the edge of the vertical structural elements, generating the image of a spiralling ribbon, another fluid design element.
AWARD OF EXCELLENCE
Project: Mt. Fuji Heritage Centre, Fuji, Japan Lighting Design: Lighting Planners Associates, Japan The main gallery of the Mt. Fuji Heritage Centre is clad in a lattice of Japanese cypress that reflects the shape of Mt. Fuji into a pool of water. As the display is visible from both the interior and exterior, lighting designers had to create a design that accommodated both while creating continuous lighting effects. Working with the architect and landscape designer, the lighting designers determined the best solution for concealing the underwater fixtures, while displaying the natural stone-covered pool bottom. Respecting neighbouring residences, low direct lighting shines only on the reverse-shaped cone, minimising light pollution. Inside, a grating was selected to cover both wall-mounted and buried fixtures that uplight the lattice wall, preventing unexpected colour shadow or dispersion while creating a soft display light, adding dimensionality to the structure. On entering the gallery, visitors see digital images along the spiral scope, giving the sensation of mountain climbing. All items in the gallery are dimly lit and the display item lighting is programmed to stay at a suitable brightness level. At the top of the slope, visitors see Mt. Fuji through the picture window. Several downlights in the shape of the constellations seen from Mt. Fuji are placed in the window, creating and amusing lighting detail.
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AWARD OF MERIT
Project: Amaranthyne, London, UK Lighting Design: Haberdashery, UK The team at Haberdashery expressed a connection to the lights and hues associated with the seasons by using lighting technology to bring the outdoors in, engaging viewers’ sense of memory, evoking emotion as they witness light as a poetic language. The oval dome structure is comprised of 40,000 hand-adjusted miniature reflective surfaces, and minimal light interference from either architectural or interior design elements allows for the fullest expression of its artistic aesthetic. By varying the angle of each tab, the sculpture reveals different light and shadow images through LED lighting. Additional lighting that spreads out from the central structure adds dynamism to the project, and can be reprogrammed for special events.
AWARD OF MERIT
Project: Amorepacific Headquarters, Seoul, South Korea Lighting Design: Arup, Germany In contrast to many other more aggressively lit buildings in Seoul, the Amorepacific Headquarters shimmers in the evening light, more subtly aglow. Arup offered a design that turns an unobtrusive building into a glowing lantern; the scheme allows for multiple light atmospheres within a single system, fitting the multi-use nature of the building. Emphasising the use of natural light, an inner courtyard lends light and a sense of nature to all areas of the building. While the upper floors are supplied with light from the atrium, their external façades serve multiple functions: the cladding is designed in multiple formations and configurations to limit direct exposure to the sun, preventing glare while providing optimum views. These façades, generate subtle lighting effects at night, giving the building its unique shimmer.
AWARD OF MERIT
Project: BPX Energy, Denver, USA Lighting Design: Stantec, Canada Stantec’s task for BPX Energy was to create a scheme that made the workplace feel like home for thousands of employees. Aiming for personality over sterility to elevate employee mood, materials needed to be warm and cozy, evoking a residential feel. Concealed lighting solutions enabled the textures and materials of the space to take centre stage. Coves with material depth, reverse coves around circulation and breakout spaces, and perimeter wall washes can be found throughout the building. The lighting design includes toe kick lighting at steps, under-bench seating lights, integrated handrail illumination and shelf and under-island work lighting. As such, the lighting feels easy and natural, intuitively appearing as the employee discovers they need it.
AWARD OF MERIT
Project: Centro Botín, Santander, Spain Lighting Design: artec3, Spain The Centro Botín appears in the night like a ship waiting to leave its harbour, illuminated by the lights of the shore as it readies itself to drive towards the sea.
The lighting design takes full advantage of the unique shape of the Pachinko to land this anchor and boat motif. The pearlescent surface of the tiled building is subtly lit from the ground to give a floating sensation, while the building
itself has LEDs integrated into the edges of the glass on all floors, giving it an iridescent sheen and glow. With this effect, the Pachinko at night resembles an elegant, but industrial lamp complemented by the ground uplights in the park, emphasising the columns as urban furniture.
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iald awards
AWARD OF MERIT
Project: CF Toronto Eaton Centre Bridge, Toronto, Canada Lighting Design: Speirs + Major, UK The lighting concept for CF Toronto Eaton Centre Bridge utilises light and shadow to create a distinctive transition between the two buildings, reflecting the uniqueness of the bridge’s design. Using integrated and concealed lighting in custom frosted acrylic cassettes, the designers aimed to make a powerful after-dark impact so that the location serves as a wayfinding tool. The bridge deck’s lighting highlights the characteristics of each building; at one end, the integrated lighting highlights the bronze panels from the arch-shaped entrance while at the other, the panels are smaller, with a soft frit on the glass and a line of light towards the deck, encouraging gently movement through the transition.
AWARD OF MERIT
Project: Exhibition Halls and Workshops of Rice Barns, Zheijiang, China Lighting Design: School of Architecture, Tsinghua University, China; One Lighting Associates, China In this project, a glowing bridge arches across the space, emphasising the rich spatial relations of the granary and the rice barns in Wuzhen, China. The bridge utilizes flexible linear luminaires hidden in the handrails, providing functional lighting for visitors while also reflecting the arch of the bridge in their own shape. Within the granary itself, linear luminaires hide the equipment slot to illuminate the walls, lending a glow directing the eye towards the ceiling. This soft light focuses the visitor on the original roof’s silhouette. The accent lighting system operates within the original structure, rather than creating a new construction or detracting from its vintage air. This allows for a scheme that creates light atmospheres best aimed for visitor enjoyment.
AWARD OF MERIT
Project: Raku, Canberra, Australia Lighting Design: Electrolight, Australia The sleek minimalism of the architecture at Raku restaurant, along with the aesthetic presentation of the food required an equally precise attention to detail in lighting design. Because of the many textures on display, ranging from matte to metallic to transparent, Electrolight implemented a design based on layers of light free of unnecessary embellishment that accentuates contrast. Slight gaps in the illuminated bamboo ceiling materials allow light to reach the tables below, while laser cut portals with high colour rendering sources create frames for miniature downlights to the chef’s stations. Illuminated partitions are similarly used in private dining spaces. LED lights graze the bottom of the partitions, which are in turn lined with rice paper for a powerful and dramatic effect. Edge-illuminated resin panels add similar layers in the kitchen.
AWARD OF MERIT
Project: KU Medical Center Health Education Building, Kansas City, USA Lighting Design: Henderson Engineers, USA The shining terracotta curtain within the University of Kansas Medical Center Health Education Building evokes images of the inner skin, the core of the body that is the building. With the building’s glass walls, the curtains are a powerful tool to give a distinctive nighttime impact. To retain transparency and unobstructed views, light fixtures were integrated into the glazing in customised luminaire housing. Interior spaces include multiple lighting atmospheres using ambient-based linear luminaires. This allows for bright, energetic classroom spaces, warm and intimate hallway nooks, and subtle guiding lights towards circulation paths. Surface-mounted adjustable lights and floor lamps populate the building offering supplementary lighting as needed.
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iald awards
AWARD OF MERIT
Project: Rothy’s at Fillmore, San Francisco, USA Lighting Design: Electrolight, USA The bold yet calming blue and purple lighting that fills the interior of Rothy’s prototype store on Fillmore Street in San Francisco leaves patrons with an urge to explore the product. Matching the brand’s eco-conscious approach, Electrolight embraced blue as the main thrust of its sustainable lighting design. The primary goal was to make the space feel larger. To do this, the design uses lines in the ceiling and irregular quadrilateral forms to shift perspective and give the illusion of a much larger space. The scheme uses minimal lighting behind a luminous ceiling membrane. LED strip-lights are mounted sideways along each membrane to mimic the fluidity of water, with white light offering uniformity, while the blue feature reads as geometric waves.
AWARD OF MERIT
Project: Scottish Parliament Debating Chamber, Edinburgh, Scotland, UK Lighting Design: KSLD | EFLA Lighting Design, UK Bespoke, geometric LED fixtures that grace the entirety of the chamber emit a soft light, lending a healthy glow to parliamentarians and visiting guests. The design for these fixtures integrates suspensions and concealed wiring into the complex ceiling structure. The new LED arrays have custom aluminium extrusion, bespoke precision tuning, multi-axis adjustment, acrylic design, stringent output targets, individual controllability, deep dimming, HD broadcast compatibility and an extended lifetime. Although the layout and heights appear random, the fixtures achieve the necessary lighting distribution. Supplemental LED spotlights also serve for front fill as needed for broadcasting.
AWARD OF MERIT
Project: Stovnertårnet, Oslo, Norway Lighting Design: ÅF Lighting, Norway Globes of light at Stovnertårnet’s nests are linked by illuminated walkways, producing an angular spiral in the landscape near Oslo. As the architect envisioned the tower as following the patterns of birds flying in the trees, the lighting designers imagined the scheme as a walk among the treetops. Hidden light sources exist beneath eye level couched in anti-glare equipment, enabling visitors to view the sights unimpeded by light pollution. While the lighting in the nests is a steady warm light, the footbridges offer a neutral white light that varies in intensity. The footbridges also have gently illuminated handrails via integrated lights. From below, walkers can see the opaque, elongated lines of these rails, as well as light fixtures mounted to the bottom of the footbridges, shedding a soft light on the terrain.
AWARD OF MERIT
Project: The Washington / Wabash Elevated Train Station, Chicago, USA Lighting Design: EXP, Canada Lighting designers drew inspiration from the pure structural form of the platform design, with the refraction of daylight and electric light in the station canopies intended to remind passengers of the sculptural art that fills Chicago.
Instead of using typical approved luminaires, EXP used a semi-custom approach, embedding linear LED fixtures within the central spine of the structure. The first all-LED train station in Chicago, the lighting design points to a potential future
for other elevated tracks around the city, offering itself as a functional model and as a point of aesthetic interest.
The final elegant solution mirrors the skeletal steel and faceted glass structure of
the surrounding Jeweler’s Row and their products, while the canopy contrasts the area’s historic façades, demonstrating how Chicago continues to evolve.
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Health is Wealth As the lighting world continues to move towards healthier, more human-centric lighting, Soraa launched Healthy, its no blue LEDs at LightFair International this May. Also appearing at [d]arc room in September, David Morgan puts the new LEDs under the microscope.
W
hen Shuji Nakamura, Nobel Prize-winning scientist and one of the inventors of
the blue LED in the 1990s helps develop and market a new range of LED retrofit
lamps in 2015, that produce no blue light, at first it would seem to be a significant
change of direction. However, on further
investigation, Soraa Healthy no blue lamps are a seemingly
logical development of the original LED technology created by Nakamura’s company, Soraa.
Nakamura was responsible for developing a cost-effective process to manufacture blue LEDs in 1993 whilst working at Japanese
chemical company, Nichia. From this invention the production
of white LEDs became possible by using the blue light at around 430nm to excite green and red phosphors in the LED package to
produce white light. This approach became the basis of most LED emitters and retrofit LED lamps ever since, for the past couple of decades.
In recent years concerns have arisen over the effect that blue
light may be having on human and animal circadian rhythms. While all commonly used light sources including fluorescent
and incandescent lamps do produce blue light as part of their spectrum, most LED sources emit higher levels of blue.
Several recent studies have demonstrated that blue light has
a powerful effect on controlling the human circadian rhythm, with blue rich light in the morning helping us to wake up and
increase our alertness, however in the evening the blue part of the spectrum suppresses melatonin production, which is necessary
for healthy sleep. A reduction in melatonin production affects our circadian rhythm and delays the onset of sleep.
As we spend increasing amounts of time working and living under artificial light and using devices with backlit LED displays, the
quality and composition of the spectrum is being investigated in more detail to ensure that it does not lead to health problems.
Research is ongoing, but these findings apply pressure for light sources that eliminate blue light to be readily available.
Shuji Nakamura left Nichia in the late 1990s, and in 2007 founded a new company, Soraa, in conjunction with other pioneers
from the worlds of engineering and semiconductors; Dr Steven DenBaars, founder of Nitres; and Dr James Speck of U.C. Santa
Barbara’s College of Engineering. With funding from Vinod Khosla to develop and commercialise GaN on GaN technology, they joined David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk
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forces.
The first generations of full spectrum white light Soraa lamps
utilised the nearly flawless crystal structure of Soraa’s GaN on GaN LED to operate at currents that are more than five times
higher than LEDs built on non-GaN substrates such as sapphire
DAVID MORGAN
or silicon carbide. As a result, Soraa’s LEDs emit five times more
white appearance compared to the Vivid lamp. The blues and greens
the smaller light-emitting surface area being that when used in
the Vivid lamp. I would suggest this is not an ideal light source to use
light from a given LED area than any other LED. The advantage of conjunction with an advanced prismatic lens, narrow beam angles,
as narrow as 9-degrees, can be achieved. Using a single emitter also results in a single sharp shadow that is very similar to halogen.
Soraa lamps have always been based on a purple light emitter with an output starting at around 400nm, which combined with RGB phosphors creates a high efficiency full spectrum white light.
However, the latest exciting breakthrough for Nakamura and his colleagues at Soraa has been to utilise the purple LED emitter to
excite a specially developed phosphor based on only red and green, thus resulting in patented ZEROBLUE technology, which has been incorporated into the new range of Soraa Healthy lamps.
With ZEROBLUE, Soraa Healthy products emit a blue-free white light that does not disturb circadian rhythms and apparently produces
around 40% less melanopic lumens than traditional LED lamps. It is understood that while previously marketed low blue LED lamps are
available on the market, they produce an amber coloured light with low CRI, whereas Soraa’s Healthy lamps claim to produce a warm white light output with a CRI of 80.
Intrigued by this latest development from the team at Soraa, and interested to find out more, I carried out some simple tests to
compare the lit appearance from a 36-degree MR16 Soraa Healthy
lamp with an MR16 Soraa 2,700K Vivid 95 CRI lamp, and there were
some obvious differences. The Healthy lamp does have quite a yellow
are reasonably well rendered but rather muted when compared to
to light fruit and vegetables – particularly those with green skins.
However, when used in a general lighting situation the lit appearance is pleasant and renders skin tones well.
The Healthy range has been available in the US consumer market
for the past year and is now being marketed internationally and for
professional use. The range of lamp types includes MR16, GU10, GLS and reflector shapes.
It is understood that Soraa will be introducing luminaires based on the ZEROBLUE technology later this year, and that tuneable white lamps may be introduced at some point where the blue light level would fall to zero as the colour temperature is lowered.
It is clear that Soraa has effectively developed its technology to address an issue of increasing interest and concern. It will be
interesting to see which markets adopt the Healthy lamps most
enthusiastically. I would imagine that they would be used extensively in care homes where dementia patents suffer from disturbance to their circadian rhythm and would benefit from zero blue emitting
light sources. There are certainly many applications that would benefit from Soraa’s latest offering, and it certainly has a place in the market. Our health and quality of life is an ever-pivotal topic and Soraa is responding well to this trend by offering a solution, which in the words of Soraa, is said to be ‘sleep friendly, looking as good as it feels!’. This is certainly one to watch!
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Light Inspiration A sneak peak at some of the products that will be on show at [d]arc room during London Design Fair this September.
Taking place on 19-22 September, [d]arc room will have its very own hall at the Old Truman Brewery, home to London Design Fair, where the show will continue with its unique exhibiting concept as well as having educational workshops and live streaming. Brought to the Fair by [d]arc media, the team behind arc and darc magazines and the [d]arc awards, in collaboration with creative consultants Light Collective, the exhibition will return for its third year and will showcase the most up-to-date solutions in lighting, a must for anyone involved in lighting specification. London Design Fair regularly attracts close to 30,000 visitors across four days of exciting and creative content. Over half the visitors are designers or architects with retailers also making up a big part of the audience. [d]arc room will bring a welcome contingent of lighting designers to the show as well as educating non-lighting professionals about the benefits of lighting design. www.darcroom.com
Pharos Pharos Architectural Controls will be exhibiting at [d]arc room for the first time this year. Independent of any lighting manufacturer, Pharos Control systems are running everything from simple indoor lighting to the façade lighting of an entire city, including both coloured and white lighting. They will be showing how Pharos Cloud, the new remote management service, can make real-time control and monitoring simple, with minimal set-up. Used in conjunction with the I/O modules, the controllers can integrate with other system utilised within the building and allow triggering and monitoring of these systems via the Pharos Cloud service. www.pharoscontrols.com
ADO LIGHTS Showing at this year’s [d]arc room is the LED-LightLine from ADO Lights. Luminous lines when darkness falls are sometimes an eye-catcher, at other times they show the way. The LED-LightLine accentuates entrance areas or emphasises architectural contours. It is suitable for public spaces, façades or entrance areas, the LED-LightLine can be integrated into façades and floor spaces, creating an optical highlight with perfect homogenous lighting. www.ado-lights.com
CLS The Jade Colour Flow Series will be on show on the A.C. Special Projects stand. It is perfectly suitable both for basic lighting applications and mood lighting. The Jade offers uniform and shadow-free colour mixing, and is also available in tunable white 1800-4000K and 2700-5700K as standard. Its applications are numerous: thematic environments in museums, showrooms and shops, event centres, wedding halls and all other places where one wants to combine functional lighting with coloured lighting in order to change the ambiance. www.cls-led.com
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Casambi Evolution, a major release of firmware, increases the number of Casambi devices in a network to up to 200, delivering better performance, with extra features and high levels of security among other benefits. Evolution can be enabled across most luminaires, drivers and lighting control devices across the Casambi ecosystem. The new optional software upgrade joins the company’s existing Classic firmware, which continues to be supported. www.casambi.com
EVENT
Feelux The magnetic Monorail track system features a super slim linear form with easy installation, offering a comprehensive long run track installation with a single power supply point. By installing Monorail 2 Pro in a row, spot free concepts can be continuously displayed. Various different extrusions such as Surface, Recessed, and Trimless are great solution for specific required installation conditions. Additional accessories and touch sensor dimming function on Monorail 2 Spot with 2200-6000K may bring a more special atmosphere in areas applied, such as in retail shops and hotels. www.feelux.com
gds Part of the Reality Series product family, the Alundra track light will be on show at [d]arc room. It is milled from a single piece of aluminium for optimal thermal management. Designed to include a hidden driver, the Alundra also offers newly developed solid polymer technology to provide a defined and clear focus of light. Key Features include 97 CRI, Solid polymer technology with anti-glare, DALI dimming protocol, Modular front end with interchangeable accessories, Zoom feature option. www.gds.uk.com
Aria Mesh Lighting will be showing Aria’s Trentacinque 35 at [d]arc room. With 360-degree distribution, configurable miniature spotlights and a multitude of colour finishes and options, from hidden to revealed, Trentacinque 35 creates concealed details or becomes the centrepiece of a breath-taking installation. The linear system has three different types of light: indirect diffused uplight, direct diffused downlight, and accent lighting. Trentacinque linear profile is a cylindrical element that can create diffused uplight and/or diffused downlight. www.aria.lighting
Tryka At this year’s [d]arc room, Tryka LED will be majoring on its Pixel Node offering as used so dynamically at Jaguar Land Rover in Birmingham (pictured). Other Tryka Pixel products being shown include the Pixel Bar, currently successfully installed at Light Box in Media City Salford and Box Park in Croydon, and about to be revealed adorning a high profile project in Algeria. Also being displayed at [d]arc room will be Pixel versions of Tryka Contineo and Boa Flexistrip. www.tryka.com
Acclaim Cylinder One HO is an exceptional, sixinch, high output cylinder fixture delivering up to 12,000 lumens and 99,000 maximum candelas for more than 20-foot ceiling height downlight applications. Ideal for airports, convention centres, theatres, houses of worship and civic buildings, Cylinder One HO is available in multiple colour temperatures (2700K, 3000K, 3500K and 4000K) and beam angles (15, 22, 40 and 70-degrees), with several quick-change reflectors for customer applications. www.acclaimlighting.com
Seoul Semiconductor SunLike is an LED light source that combines the latest optical and compound semiconductor technology to lower the blue light peak similar to the sunlight spectrum, contributing to maintaining a stable human circadian rhythm and enhancing the colour clarity of objects. Its LED technology closely matches the spectrum of natural sunlight. This natural spectrum of light is achieved by combining Seoul Semiconductor’s LED chip technology with Toshiba Materials’ TRI-R technology, a leading global phosphor compound. www.seoulsemicon.com
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Entries for the 2019 [d]arc awards only opened a couple of weeks ago, but we’re already very impressed with the calibre of entries that have been pouring through. Want to enter yourself? Entries will be open until the 27th of September, but it’s beneficial for you to submit your projects, products, events or light art installations for this year’s awards as early as possible to reap the benefits of the global exposure that comes with entering the world’s only peer-to-peer lighting design awards, including online presence and your entries being shared on social media. Below is just a small sample of the fantastic entries that we have received so far. Head to www.darcawards.com for more information on how to enter, and to check out all of our current entries.
STRUCTURES - Low Column of the Immaculate, Italy Lighting Design: Studio Storaro, Italy The monument to the Madonna of the Immaculate Conception consists of an octagonal base, on which rests a square structure from whose sides emerge four figures of Prophets, and a column that supports the bronze statue of Madonna. 29 energy-saving LED luminaires with high technological quality have been installed to illuminate the column. All the fixtures were positioned in agreement with the Special Archaeological Superintendence, Fine Arts and Landscape of Rome, Prof. Francesco Prosperetti, within the perimeter of bollards around the column, with recessed lighting bodies or projectors inserted in special built-in pits, in order to minimise the visual impact of these lighting bodies and in total respect of the monument.
ART - Low Origami Lava, Spain Lighting Design: David Oliva (SP25 Arquitectura) & Anna Juncà (Atelier4), Spain Origami Lava was an installation created within the framework of the Lluèrnia, Festival of Fire and Light, held annually in the volcanic city of Olot. A river of fire that illuminates the darkness of the night, Origami Lava features a lava flow that emanates from an abandoned building, expanding and adapting to the urban topography of the environment. The installation occupied more than 100sqm, with the flor of lava illuminated with several series of lights strategically placed, creating an incandescent liquid rock effect. At the same time, the generated artificial smoke caused an environmental diffusion of light in the entire neighbourhood of the square, increasing the scope of the installation.
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darc awards
STRUCTURES - Low Arch of Janus, Italy Lighting Design: Studio Storaro, Italy For the lighting concept at the Arch of Janus, Studio Storaro was inspired by the symbolism of the Janus divinity. The lighting, completely sourced by LED architectural fixtures and regulated by a DALI management system, emanates from the central area of the interior of the arc to the four curves. A strong shade of orange, which looks like it is coming from the earth, rises from the bottom of the walls inside the arches. As it rises, its chromatic tonality shifts to a brighter yellow colour. With this, the whole interior of the four arches symbolically represents the first turn of the morning sun. The exterior walls also follow the light of the day, transitioning from cold to warmer lighting from east to west, matching the progression of the sun.
BESPOKE Moxy, USA Lighting Design: Moment Factory & Digital Ambiance, USA Designed by Moment Factory and implemented by Digital Ambiance, Moxy is a custom, 10-storey lighting fixture that hangs throughout a central atrium. The form of the sculptural luminaire is a series of rings with addressable LED pendants stretched between them. The piece can be described as a “volumetric lighting installation”, using pixels suspended within a volume of space to create a ‘holographic’ area in which to run animated lighting patterns.
STRUCTURES - Low The Ross Fountain, UK Lighting Design: FOTO-MA Lighting Architects, UK The initial lighting concept for the restored, Grade A listed, Scheduled Ancient Monument, The Ross Fountain, was to keep the lighting as simple, classic and subtle as possible, using only warm white light to ensure that the adjacent Edinburgh Castle retains its dominance in the lit Edinburgh environment. The new lighting scheme utilises low energy, state of the art, IP68 LED warm white lighting, with stainless teel spotlights integrated into the fountain structure and submerged within the fountain pools. By submerging the lighting within the water, a beautiful, shimmering and pulsing effect is created over the fountain after dark, as beams of light project ripples and waves created by the wind and the splashes of the fountain jets. A simple, but magical effect.
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Drumroll Please…
O
n June 13th, the winners of the Lamp Awards 2019
were unveiled, in a ceremony held at the Barcelona Nautic Centre in the port of Barcelona city.
The eighth edition of the awards was led by Lamp
CEO Ignasi Cusidè and hosted by TV journalist Bibiana Ballbè,
while lighting designer and president of the jury, Roger Narboni closed the event, alongside his panel of judges, lighting
designers Uno Lai, Paul Nulty and Pascal Chautard, lighting
The eighth edition of the Lamp Awards was held in Barcelona this month, revealing the winners of more than 500 entries from around the world.
artist Aleksandra Stratimirovic, architects Hilde Léon and
Antonio Ruiz Barbarin, and interior designer Mercedes Isasa. The event also counted on the collaboration of the
Light Squad Studio, who surprised attendees with a lighting installation recreating the sea mist.
500 professionals of the global lighting sector attended the
gala event. Attendees toasted Yo Ho A Pirates Life For Me in
a dry dock originally intended for repair and maintenance of
motor and sailing boats, which was transformed into a pirate’s lair for the night. Here, visitors could taste the typical Catalan fisherman’s Ron Cremat cocktail, seafood, sushi and paella,
network in one of the calm chill out spaces, enjoy live music or take photos in a mock-up of the Jolly Roger pirate ship. This year’s instalment of the Lamp Awards saw a total
of 502 entries from 42 countries, with winners divided
into four categories: Outdoor Lighting, Indoor Lighting, Installation Lighting and Student Proposals.
The winner of the Outdoor Lighting category was The Musicon Path in Roskilde, Denmark, created by ÅF Lighting and Simon
Panduro. Judges praised the project for “its simple and beautiful
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lamp awards
lighting design that delivers a unique and
to the judges, the installation was “beautifully
engaging application of light imbibes the
the piece is constantly evolving as a result of
users an exciting and dynamic experience.”
installation alongside its dynamic characteristics
Lighting category. Firstly, the Bloomberg
Finally, the Student Proposals award was
innovative public realm. The thoughtful and cultural space with personality and affords Two projects received awards in the Indoor
European Headquarters in London, UK, with
lighting design by Tillotson Design Associates
simple in its execution. Reminiscent of nature, the elements. The organic, natural quality of the combines to create a stunning effect”.
presented to Rodrigo Llavayol, a student at the Universidad de la República in Montevideo,
was praised for “an exceptional lighting solution
Uruguay for Light Follows Function!. Judges said
the office environment”. Judges stated that
and interactive scheme places the intensity
that revolutionises the role of lighting within “It is unique, innovative and sophisticated - a genuinely revolutionary, inspirational example of next level workplace design.”
Erbach, Germany’s German Ivory Museum, with lighting from Licht Kunst Licht, continued its
global success, having won a [d]arc award in 2017, and claiming the Radiance Award at last year’s IALD Awards. Judges commended the project
for “a dramatic and perfectly balanced lighting strategy that captures the imagination. It has
been beautifully executed and creates a wonderful sense of drama within the space, and focuses the
eye exactly where it should be - on the displays”. Judges presented the 2019 Lamp Award for
Installation Lighting to Escola Municipal Art i
Disseny Terrassa for Ocre in Olot, Spain. According
of Llavayol’s proposal: “this playful, imaginative of light into the hands of the user, making it a very personal and compelling environment.” During the awards ceremony, the jury also
extended a special mention to Kerem Asfuroglu
Far Left The German Ivory Museum, featuring lighting design from Licht Kunst Licht, won an award in the Indoor Lighting category. Top Left The Installation Lighting award went to Escola Municipal Art i Disseny Terrassa for Ocre, an installation in Olot, Spain. Top Right The Vessel, a charity project led be Dark Source’s Kerem Asfuroglu, received a special mention, with the jury citing it as a “commendable piece of charity and social work”. Above Left Rodrigo Llavayol, a student of the Universidad de la República in Montevideo, Uruguay won the Student Proposals award for his proposal Light Follows Function!. Above Middle The Outdoor Lighting award went to ÅF Lighting and Simon Panduro for The Musicon Path in Roskilde, Denmark. Above Right Alongside the Germany Ivory Museum, Tillotson Design Associates’ beautiful work for the Bloomberg European Headquarters in London was also victorious in the Indoor Lighting category.
following his work in Abuko, Gambia on The Vessel. Calling it a “commendable piece of
charity and social work”, judges said of the
project: “By focusing on local materials, culture and experience, combined with training, this
project is concerned with making a long lasting, sustainable difference within the community.” Aware of the social importance of light, Lamp awarded this special mention with a donation of €1,000 in lighting material for Asfuroglu and Dark Source’s next social light project. www.lamp.es
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CASE STUDY
Depth Perception When designing their new office space in Mainz, Germany, Faerber Architekten turned to Erco for a “perception-oriented” lighting concept that creates visual comfort and supports concentration, contributing to the appealing, ergonomic work environment.
T
he new office construction of Faerber Architekten in
that continues back through to the existing building in the rear
good light contributes to a sophisticated, appealing
in perception but also establishes a visual relationship between the
Mainz, Germany demonstrates the extent to which
courtyard.” The accent light therefore not only creates hierarchies
and ergonomic work environment. Contemporary
indoor and outdoor spaces.
office lighting with Erco LED lighting tools creates maximum visual
The reception area and adjoining library are also illuminated with
work and also brings out the very best of high quality interior design.
into the section connecting the new construction with the existing
planners, architects and interior designers for projects throughout
here. The warm white light of a Lightgap grazing light wallwasher
expansion, the company decided in 2016 to construct a new building
to create atmospheric lighting in this central area.
new location consists of prestigious reception and conference rooms,
ceiling-integrated Compar downlights, each with a connected load of
across five floors.
The light beam of each of these luminaires creates a wide oval for
a perception-oriented lighting concept. The illumination of room
compliance with current standards.
glare control using the new, linear Compar downlights was a priority.
high visual comfort via vertical lighting and individual, task-
for the lighting designers. All prestigious areas with client contact,
concentrated and productive work. The rear walls behind the VDU
illuminated with warm white light (3000K) and all work areas with
wallwashers with a connected load of 30W to achieve visually relaxed
The entrance to the new Faerber Architekten building features a
This wallwashing also lends these smaller offices a larger appearance.
counter behind the window façade that perfectly represents one of
with wide flood light distribution. Each desk also has a Lucy task
Parscan spotlight with narrow spot light distribution.
illuminance from 100 percent down to one percent with a push-
Fabian Faerber, Partner at Faerber Architekten. “The façade of the
desks for comfortable work conditions.
comfort, supports concentration and communication at the place of
Parscan spotlights in warm white; the route continues from here
Faerber Architekten, founded in 1991, employs more than 20 urban
building. A historical quarry stone wall was exposed and conserved
the whole Rhein-Main region. As a consequence of its continuous
sculpturally emphasises the individual stones of the exposed masonry
close to their established location in the old city area of Mainz. The
The largest office, containing eight workstations, is illuminated by six
alongside state-of-the-art office spaces spanning around 450sqm
27W and oval wide flood light distribution, completely without glare.
Working closely together with Erco, Faerber Architekten developed
illuminating the desk surface and immediate work surroundings in
zones featuring high visual comfort and general lighting with good
In the offices on higher floors, the lighting design focused on
Individually illuminating the various workstations was also important
specific brightness on the desks. This in turn provides the basis for
e.g. the entrance area, reception, library and conference rooms are
workstations are uniformly and vertically illuminated by Pantrac lens
neutral white light (4000K).
surroundings and reduced contrasts, thereby preventing eye fatigue.
snow-white architectural model, installed on a matt black-coated
Dimmable Parscan spotlights on track illuminate the work areas
the current projects of the planners. This is highlighted with a 7W
light: their flicker-free, uniform light and the option of dimming
“The model takes on the role of one of our business cards,” explained
button enables the employees to individually adapt the light at their
building has been designed practically and unpretentiously, but
www.erco.com
observers standing here gain an impression of the depth of the office
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CASE STUDY
Light Engines Lighting supplied by CLS shines a spotlight on the artefacts on show at Slovakia’s Museum of Transport, part of the Slovak Technical Museum.
T
he Slovak Technical Museum in
some temporary exhibitions, the museum aims to
back in 1948. Slovakia is home to a
transportation has changed through time.
Kosice, Slovakia, first opened its doors high number of minerals, mines and
various industries, and because of this, the country has become known as one of Europe’s most
prominent and leading countries when it comes to technology.
The Slovak Technical Museum pays tribute to this, and is home to an expansive collection of no less
than 14,000 artefacts that can be specified across three different categories: physics, chemistry
and astronomy. The museum is home to fifteen
different permanent exhibits, alongside a series of temporary exhibition spaces.
The Museum of Transport, part of the Slovak
Technical Museum, documents the development of
railway and road transport throughout the country. From cars produced before World War II, bicycles, personal vehicles and lorries from the interwar
period, to vehicles from the 60s and 70s, as well as
bring visitors closer to understanding how Slovak In order to best display the artefacts on show, the building required an effective lighting solution.
CLS partner City Light Slovakia therefore supplied the museum with CLS’s Jade Expo spotlight, in its 3000K, CRI>95 variant.
The Jade Expo is a versatile fixture that is ideal for use in museums. Thanks to the CLS beam
shapers, switching to a new beam angle only takes a matter of seconds. There are five different beam angles to choose from, including an oval beam.
Furthermore, users can choose from no less than six different control methods.
The Jade Expo can be equipped with either Citizen or Xicato light sources in three different CRI
values, enabling users to create just the right lighting for their purposes. www.cls-led.com
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CASE STUDY
Pics: F16 Studio - Giuseppe Saluzzi
Wine Country Lighting from Linea Light Group has created a dramatic, atmospheric aura at the Cantina Tabarrini vineyard.
N
estled amongst the hills and vineyards
customised both in terms of optics and size.
where man and nature come together
asymmetric RGBW versions where the colours,
of the charming Umbria countryside, to walk side by side, is world-
renowned vineyard Cantina Tabarrini.
The vineyard is characterised by a building with a unique structure, with a tower and an interior divided into three large areas reserved for the different stages of the wine-making process.
The architectural lighting for this building comes courtesy of Linea Light Group, and serves to
emphasise the shapes of the spaces, creating plays of light with an astonishing effect. All thanks to a
custom-made product that perfectly interprets the lighting requirements of the place.
For the barrique cellar, where the barrels in the ageing stage are located, the manufacturerâ&#x20AC;&#x2122;s
Paseo linear profile was used, in a version that was
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The Paseo bars used were customised in
managed by a DMX protocol system, alternate, creating evocative scenery and providing the
room with even more depth and volume. In the
same way, the white produced by the luminaires allows the details and volumes of the vault to be highlighted.
Furthermore, the fixtures mounted on the edge
of the vault are not visible. Thanks to customised optics, they produce an indirect light that points
only towards the vault, preventing light pollution and glare. The result is ceiling lighting that is
capable of creating a space that is well defined by the geometries of the space. www.linealight.com
CASE STUDY
Quality Assurance Lighting design studio Distylight utilised the latest products from L&L Luce&Light to illuminate the new Luxembourg headquarters for Foyer Group.
T
he new headquarters of the insurance company Foyer
dimensions make them ideal for elegant, discreet settings.
from L&L Luce&Light as part of a concerted, synergistic
honeycomb louvre and asymmetrical snoot, were set between the
Group in Leudelange, Luxembourg feature lighting
operation overseen by the Architecture & Urbanisme 21
Yvore Schiltz et Associés, Parallel architecture intérieur, and Agence Christophe Gontrand & Associés architectural practices, together with lighting design studio Distylight.
The building complex, which houses the headquarters of
Luxembourg’s most important insurance group, underwent work
to expand and join the structure’s two wings with a central linking body. This produced new reception areas for visitors and meeting points for staff, with the function of representing the brand’s identity and values.
The lighting design from Distylight, which covers the new entrance and office wing, followed the evolution of the architectural project, and has created different sequences of interpretation and a spatial hierarchy: the lighting intensity increases progressively from the
entrance to the patio, guiding the visitor towards the building’s heart. The colour temperature also changes from one area to another as they follow on from each other, from the portico through to the
central part of the edifice, which helps to mark out a symbolic route for the general public.
Distylight’s lighting scheme was designed to create emotion
and surprise, and the light sources provided by L&L Luce&Light correspond exactly to these needs. Specifically, the French
studio selected three spot and downlight models whose compact
In the area in front of the building, Spot 1.0 projectors, with
shrubs to discreetly light the dense vertical vegetation with a colour temperature of 4,000K. Beneath the high, porticoed roof, which
supports an iconic white façade, square Goccia 2.7 recessed fixtures have been installed, with a slightly warmer colour temperature of
3,500K. The Goccia 2.7 fixtures are dotted around the paving, almost
as if deconstructing on the ground, in small pixels, the façade with its vertical elements.
Once visitors have crossed the entrance, they arrive in the reception area, where the request was for warm, indirect lighting. Lighting for this green island has a cooler colour temperature, in order to
highlight its features in contrast to the surrounding area. In this
oasis for the eyes, Bright 1.6 products were chosen. Recessed into the ground and hidden by the gravel, they illuminate the vegetation with small, discreet points of light, highlighting the textures and colours of the plants and shrubs.
In the hands of the lighting designers, L&L Luce&Light technology
has provided a fitting enhancement to the impressive architecture.
Using the latest generation L&L Luce&Light products, an intelligent, emotional lighting has been achieved that shapes the steel and
cement into fluid shadows and artistic chiaroscuros, underlining even the smallest details. www.lucelight.it
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CASE STUDY
House of Wax Seoul Semiconductor’s SunLike LEDs have been utilised in Paris’ Grevin Museum, allowing the waxwork figures on display to appear much more lifelike.
T
he Grevin Museum in Paris, France, has been given a
The downlight fixtures are designed to bring out the most natural
Seoul Semiconductor’s SunLike Series natural spectrum
the wax figure exhibits appear more lifelike to visitors. They also
burst of artificial sunshine, following the introduction of LEDs.
Adopted by Ramo, a French LED lighting manufacturer, the SunLike series LEDs illuminate a wide range of waxwork figures.
Since 1882, the Grevin Museum Paris, located on the Boulevard
Montmartre, has been a leading tourist attraction, housing more
than 200 wax figures of movie stars, celebrities, historic figures and politicians, including Marilyn Monroe, Albert Einstein, Katy Perry and footballer Kylian Mbappe, among many others.
Seoul Semiconductor’s SunLike Series natural spectrum LEDs
produce light that closely matches the spectrum of natural sunlight, co-developed through the combination of Seoul Semiconductor’s optical semiconductor technology and Toshiba Materials’ TRI-R
technology, which defines its original concept as “the light closest to the sun for human wellbeing”.
The SunLike COB LED packages adopted by Ramo for the Grevin
Museum Paris’ downlights achieved colour temperatures of neutral white (3,000K) and warm white (4,000K), optimised to natural
light spectra and colour rendering of CRI-97 - close to CRI-100 of sunlight, and higher than the CRI-80 of conventional LEDs.
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colour tones of objects that are particularly colour-sensitive, making deliver considerable benefits of significant vivid colour, detail
contrast, and homogenous light quality, by reaching lower blue light peaks, as similar to the spectral curve of sunlight as possible, to reduce scattered reflection and glare.
“Seoul Semiconductor’s SunLike Series natural spectrum LEDs have redefined high quality lighting with differentiated design in our
industry,” said Omar Rezki, Chairman of Ramo. “In cooperation with Seoul Semiconductor, we were able to create a fixture design with
outstanding performance to deliver an optimal lighting solution for the unique requirements of the Grevin Museum Paris.”
“We are proud that Seoul Semiconductor’s SunLike Series LEDs
were adopted by Ramo for these fixtures,” said Nam Ki-bum, Sales
Executive Vice-President at Seoul Semiconductor. “With the SunLike Series natural spectrum LEDs, we can offer the best selection of
LED lighting for museums, art galleries, hospitals, and commercial spaces, with a high colour rendering and a natural light source similar to the spectrum of natural sunlight.” www.ramo-industries.com www.seoulsemicon.com
Senior Lighting Designer
LIGHTING DESIGNER & JUNIOR DESIGNER Lighting Design Collective are expanding our London team, and would like to hear from applicants with between one and three years of experience within lighting design, ideally working across multiple market sectors, with involvement in all project stages from concept to completion. CVs and portfolio examples should show your visual communication skills, and must be predominantly your own work. Applicants must be able to sketch and have working knowledge of InDesign, AutoCad, Revit, and a 3D software package. All applications should be made via email to london@ldcol.com Salary and benefits will be commensurate with your experience and abilities. Direct applications only. No agencies. About LDC: We create imaginative, state-of-the-art lighting schemes for architecture and built environments using design research based on high tech applications, digital content and artistic assets. LDC specialises in customised architectural lighting solutions and applications with a uniquely integrated portfolio covering cutting-edge services such as digital content creation, software development and innovative design strategies. Our multicultural team of lighting designers, software coders and digital artists has created world-class projects in more than 20 countries. Our professional and artistic experience covers cultural, hospitality, retail, office, and mixed-use schemes as well as residential, landscape and infrastructure developments. www.ldcol.com
We believe that light has the power to change lives. 18 Degrees is a lighting design firm dedicated to making a difference through light. We work alongside some of the best architects on great projects both in the UK and overseas. We pride ourselves on having some of the best people in our industry. Our practice is fresh and young; we challenge the norms and are always looking to do things smarter. Our progressive outlook and recognition through design awards has led to us becoming busier than ever and accordingly we seek to add a senior LD to our team. The successful candidate will have a proven track record of working at a senior level, delivering high quality and complex projects. Applicants must have advanced lighting knowledge, be a great communicator (with clients, other team members) and be super organised. We offer a generous remuneration package. To apply please write to us explaining why this role appeals to you and why you think you might be suitable to hello@18degs.com. Please include a CV and portfolio of relevant work (outlining your role in each of the presented projects). 18degs.com
ADVERTISERS INDEX 18 Degrees................................................. 143
[d]arc room....................................................3
Lival............................................................... 63
ADO Lights................................................... 61
ERCO............................................................. 83
Nicolaudie.................................................... 11
Alto................................................................ 33
Feelux........................................................... 19
Nordic Light............................................... 147
Applelec........................................................ 71
formalighting............................................... 53
Proled........................................................... 85
Architectural Area Lighting...................... 129
Fuhua Electronic......................................... 10
Radiant Architectural Lighting................. 145
Arkoslight..................................................... 75
Hacel Lighting............................................. 6-7
Reggiani...........................................................2
Artemide...................................................... 35
Huda Lighting.............................................. 12
Robe............................................................ 4-5
Astro Lighting.............................................. 89
IALD............................................................ 120
Seoul Semiconductor............................... 101
Augenti Lighting.......................................... 23
Illumination Physics.................................... 43
Studio Due................................................. 145
BEGA............................................................. 39
Insight Lighting............................................ 51
Trends In Lighting....................................... 16
Brick In The Wall.......................................... 25
Kim Lighting............................................... 105
Unilamp...........................................................9
Bridgelux.................................................... 119
KKDC............................................................. 31
Vexica Group............................................... 77
Climar........................................................... 99
Kreon............................................................ 21
Vode............................................................ 115
CLS-LED...........................................................8
LED Linear.................................................. 148
Wibre............................................................ 14
Colors........................................................... 48
Lighting Design Collective........................ 143
Zumtobel...................................................... 69
[d]arc awards................................... 13,15,17
Linea Light Group....................................... 45
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
Event DIARY
Event Diary Industry events where you’ll find arc in the months ahead LED EXPO THAILAND 27-29 June Bangkok, Thailand
ISTANBULLIGHT 18-21 September Istanbul, Turkey
LIGHT MIDDLE EAST 15-17 October Dubai, UAE
www.ledexpothailand.com
www.istanbullight.com
www.lightme.net
LIGHT EXPO AFRICA 4-6 July Nairobi, Kenya
[D]ARC ROOM 19-22 September London, UK
PLDC 23-26 October Rotterdam, Netherlands
www.expogr.com/lightexpo
www.darcroom.com
www.pld-c.com
INTERLUMI 25-27 July Panama City, Panama
TRENDS IN LIGHTING 24-26 September Bregenz, Austria
HONG KONG INT’L LIGHTING FAIR 27-30 October Hong Kong, China
www.inter-lumi.com
www.forum-trends.lighting
www.hktdc.com/fair/hklightingfairae-en
INTERLIGHT MOSCOW 10-13 September Moscow, Russia
LIGHTSHOW WEST 25-26 September Los Angeles, USA
ILLUMINOTRONICA 21-22 November Bologna, Italy
www.interlight-moscow.ru.messefrankfurt.com
www.lightshowwest.com
www.illuminotronica.it
BIEL 11-14 September Buenos Aires, Argentina
IALD ENLIGHTEN AMERICAS 3-5 October Albuquerque, USA
[D]ARC AWARDS 5 December London, UK
www.biel-light-building.ar
www.iald.org
www.darcawards.com
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graphics: Vilfredo Maria Ricci - © 2019 Studio Due
“ light is the instrument to enrich and valorise architecture “
Truong Tien Bridge (Hue City, Vietnam)
STUDIO DUE light s.r.l. 01100 Viterbo (Italy) t. +39.0761.352520 f. +39.0761.352653
www.studiodue.com marketing@studiodue.com
The Bvlgari Spa, Dubai Lighting design by Delta Lighting Solutions, Dubai Light Middle East Awards Winner - Hotel Lighting Project of the year 2018
3D LED Flex 40 system IP66 High power LEDs with lenses and anti-glare snoot accessories 3D flexible linear lighting system. Up to 3,500 Lumens per Mtr.
www.radiantlights.co.uk | +44 ( 0 ) 208 348 9003 | david@radiantlights.co.uk | All products designed by Arc ad June-July 2019.indd 3
05/06/2019 13:01:49
THE BACK PAGE BUCKET LIST
#10 Light Collective
Curated by
“The light that burns twice as bright burns for half as long, and you have burned so very, very brightly, Roy.” Dr. Eldon Tyrell, Blade Runner
What: The neon of Tokyo. Where: Shinjuku, Shibuya, Ikebukuro, Ginza, Odaiba. How: Capitalism baby! When: Every night. The city never sleeps. Why: It’s like being in Blade Runner. Photo by Erik Eastman on Unsplash
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www.lightcollective.net
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