117 AUG/SEP 2020
www.arc-magazine.com
Magnum Opus We step inside the latest wonder from Zaha Hadid Architects WORKSPACE LIGHTING FOCUS • TEMELOY INTERVIEWED • [D]ARC ROOM LIVESTREAM PREVIEW RED DOT AWARDS • STANLEY ELECTRIC LEDSFOCUS PRO REVIEWED • IALD LIGHTING DESIGN AWARDS
E Eclipse – the best contour spotlight of its kind x3
Three times-larger imaging area Excellent edge sharpness even with large pictures Light-tight housing for invisible light source Also available with tunable white and RGBW
www.erco.com/eclipse
200729_EN_3_eclipse_framing_ARC_236x333.indd 1
29.07.20 11:51
16-18 SEPTEMBER 2020
3 DAYS OF EXCLUSIVE CONTENT INCLUDING: 3 KEYNOTE SPEAKERS • 44 EXPERT SPEAKERS TECHNOLOGY WORKSHOPS • 1-2-1 VIDEO MEETINGS GROUP CHATS • GLOBAL PRODUCT LAUNCHES
REGISTRATION & SPONSORSHIP OPPORTUNITIES AT:
www.darcroom.com Silver Sponsors:
Supported by:
Bronze Sponsors:
Organised by:
In collaboration with:
Partners
Lighting Designer Partners
Supported by
Trophies created by
Organised by
In collaboration with
WINNER
WINNER
WINNER
WINNER
Bamboo Pavilion, Taiwan
Chineh, Iran
International Presbyterian Church, UK
Under, Norway
WINNER
WINNER
WINNER
WINNER
The Musicon Path, Denmark
Aurora Experience, Finland
Kaamos Aurinko, Sweden
Where The Rainbow Ends, France
WINNER
WINNER
WINNER
WINNER
Biophilic Light, Netherlands
Winter Lights, UK
Pipien - Stoane Lighting
Eyeconic Range - Phos
STRUCTURES: Best Exterior Lighting Scheme Low Budget
SPACES: Best Landscape Lighting Scheme Low Budget
ART: Best Light Art Scheme Bespoke
STRUCTURES: Best Exterior Lighting Scheme High Budget
SPACES: Best Landscape Lighting Scheme High Budget
EVENT: Best Creative Lighting Event
PLACES: Best Interior Lighting Scheme Low Budget
ART: Best Light Art Scheme Low Budget
KIT: Best Lighting Products Exterior
PLACES: Best Interior Lighting Scheme High Budget
ART: Best Light Art Scheme High Budget
KIT: Best Lighting Products Interior
WINNER
KIT: Best Lighting Products Decorative
Entries are open for the 2020 [d]arc awards! Enter projects and products online at www.darcawards.com. All entries are displayed online and will be voted on by independent designers making the [d]arc awards the only peer-to-peer awards in the lighting industry. Each company that enters will receive a free profile page in the [d]arc directory.
Noctambule - Flos
Entry deadline: 7th September 2020 www.darcawards.com
So what are you waiting for? You may just be a winner...
8K
ready for the future
Sirius® LED floodlight Modern multipurpose halls and multifunctional arenas work day and night. They need the best light for the show, players, spectators and broadcasters. Controllable at any time and from a single system – simple, pure and flexible. The new Sirius® LED high-power floodlight features this flexibility thanks to various lighting technologies and controllability with complete integration into the building management system. Thanks to outstanding colour rendering and flicker-free light, Sirius® is already ideal for the emerging development of 8K broadcast standards.
www.siteco.com
Unique mood-enhancing lighting fixture
> 10 Watt colour changing decorative surface mount fixture > RGBA & RGBW variants standard available > Available in black or white housing > Individually DMX controllable
CLS DECOSTAR Adv.indd 1
10/07/2020 15:01
058 The Future of Workspace Lighting We open up the discussion on how the Covid-19 pandemic will impact on workspace design in the future.
Pic: Devon Banks Photography
Contents
AUG/SEP 2020 014 016 018 020 024 032 034 056 116 118 120 122 128 130
010
Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing Dark Source David Morgan Product Review Red Dot Design Awards Review New Products Manufacturer Case Studies Event Diary Back Page Bucket List
www.arc-magazine.com
036 Temeloy Tiphaine Treins, Founder of Temeloy Lighting, is leading the charge for a more sustainable lighting industry with the Lighting for Good charter. arc speaks to Treins about the charter, and her career to date.
042 Women in Lighting: Goziem Ukachukwu The Nigerian ambassador for Women in Lighting sits down with arc’s Sarah Cullen to discuss her journey into lighting, and life as a lighting designer in Africa.
103 IALD International Lighting Design Awards Hosted online for the first time ever, the 37th edition of the IALD Awards celebrated 21 projects from across eight countries. We take a look at this year’s winners.
110 International Lighting Design Family Tree Originally planned to feature at this year’s Light+Building event, Light Collective has unveiled the findings of the International Lighting Design Family Tree.
112 [d]arc room livestream Preview As we make the final preparations for the first ever [d]arc room livestream, we give you a sneak preview of the international lineup of speakers from across the lighting design community.
048 Opus by Omniyat, UAE arc speaks to dpa lighting consultants and Illuminate Lighting Design about the lighting for the latest, stunning Zaha Hadid project in Dubai.
Pic: Laurian Ghinitoiu
Projects
AUG/SEP 2020
066 Neue Direktion, Germany Licht Kunst Licht used a minimal, clean lighting scheme to highlight both the traditional architecture and new, modern additions at Cologne’s Neue Direktion.
072 Fidelity International, UK Thanks to a new, WELL certified lighting scheme, Nulty has brought a feeling of wellbeing to the UK headquarters for Fidelity International.
080 Spielfeld Digital Hub, Germany For the new Spielfeld Digital Hub in Berlin - a space that fuses event and workspace lighting - Studio De Schutter sought to use light as a means to inspire innovation.
088 Private Company Workspace, USA Dark Light Design helped to create a bright, welcoming environment for employees and visitors alike as a high-tech company renovated two buildings within its Redmond campus.
094 Deloitte HQ Link Bridges, UK GIA Equation worked with Wilkinson Eyre Architects to transform the Link Bridges of Deloitte’s London headquarters into a striking feature in which to meet, work and linger.
012
www.arc-magazine.com
Facade Lighting Reimagined For almost 30 years, Lumascape have been transforming spaces through light and color using some of the most innovative solutions. Our innovation and technology has transformed buildings, bridges and monuments through the world into dazzling displays of performance art. Our specialties include: ● ● ● ● ● ●
Exterior Grade Architectural Lighting Intelligent Lighting Systems Lighting System Design Commissioning Services Content / Light Show Creation Remote System Monitoring
To learn more, visit lumascape.com.
USA | AUSTRALIA | ASIA | MIDDLE EAST | EUROPE
www.lumascape.com
EDITORIAL
Come one, come all... We’re gearing up for the very first [d]arc room livestream… Front cover: The Opus by Omniyat, Dubai, UAE (Pic: Laurian Ghinitoiu)
After nearly five months of lockdown in the UK, it seems that we may
Editorial
Managing Editor Helen Ankers h.ankers@mondiale.co.uk Editor Matt Waring m.waring@mondiale.co.uk Assistant Editor Sarah Cullen s.cullen@mondiale.co.uk
Commercial
Managing Director Paul James p.james@mondiale.co.uk Head of Business Development Jason Pennington j.pennington@mondiale.co.uk Media Sales Manager Andrew Bousfield a.bousfield@mondiale.co.uk Subscriptions / Marketing Manager Moses Naeem m.naeem@mondiale.co.uk
Design
Design Manager David Bell d.bell@mondiale.co.uk Production Mel Robinson m.robinson@mondiale.co.uk
Corporate
Chairman Damian Walsh d.walsh@mondiale.co.uk Finance Director Amanda Giles a.giles@mondiale.co.uk Credit Control Lynette Levi l.levi@mondiale.co.uk [d]arc media Strawberry Studios, Watson Square Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350 www.arc-magazine.com arc@mondiale.co.uk
slowly be starting to see the green shoots of recovery, with some of
the restrictions that we’ve grown accustomed to of late starting to be lifted - bars are back open, as well as restaurants and gyms. I even went to the cinema last weekend!
Alongside this, a few of us have started to return to the office in some capacity. I’ve spent a few days back at arc HQ, more for a change of scenery than anything else, but while it was nice to return to
something close to resembling “normal”, I’ll admit that I’ve got very used to working from home now, with the big window by my desk,
the odd break to play with my cat, and all the other home comforts that you don’t get at work.
With that in mind, in this issue of arc, we’ve opened up the debate on what the future of the workspace will be in a post-Covid world. Whether we’ll see more social distancing measures introduced, or
fewer people actually going into the office now that we’ve all realised how productive working from home can actually be, the landscape of
workspace design will no doubt be affected in some way, which could impact on how we light these spaces in the future. In this debate, I sat down with Helen Diemer of The Lighting Practice, Karsten
Ehling of Lichtvision, Martina Alagna of Nulty, Scott Herrick from
Spark Studio Lighting Design, and Brad Koerner of Cima, to get their opinions on what the future will hold. It’s a fascinating discussion, which I hope that you all enjoy. (Stay tuned for a follow-on panel discussion, coming soon to arc tv!)
Elsewhere, you’ll hopefully have seen that we, alongside Light
Collective, have officially launched [d]arc room livestream, an
online version of our popular [d]arc room event. Held over three
days from 16-18 September, the global lighting design conference
and forum will feature a stacked lineup of speakers from across the lighting design spectrum, while the unique platform will allow for
interaction between participants and the audience all over the world. We were obviously incredibly disappointed to postpone the physical event this year, but we’re really excited about the possibilities that [d]arc room livestream will bring, and we hope you’ll all join us! In the meantime, stay safe, wear a mask and enjoy the issue!
Printed by Buxton Press 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.
Matt Waring Editor
Spatial Ltd is acting as our mailing agent. Proudly Supporting
014
www.arc-magazine.com
NEWS
Headlines [d]arc awards 2020 open for entries (UK) - Entries open until 7 September 2020. The 2020 instalment of the [d]arc awards has officially opened, with the entry process for new products and projects now underway. Entering its sixth year, the online, peer-topeer awards platform will once again look to celebrate the best in lighting design. As in previous years, all entries will be displayed on the [d]arc awards website. Once entries have been shortlisted by a panel of international lighting designers, the global lighting design community will be able to cast their all-important votes. Categories in this year’s awards cover exterior lighting schemes (STRUCTURES), interior schemes (PLACES), landscape lighting designs (SPACES), light-art installations (ART), and lighting events (EVENT), as well as interior, exterior and decorative lighting products (KIT). The deadline for entries is 7 September 2020, and to be eligible for inclusion, all entries must have been completed or launched between 1 April 2019 and 7 September 2020. Every independent lighting designer and light artist is eligible to vote online for their favourite lighting schemes and products. Each designer
that votes is also eligible for a free ticket to [d]arc night, the [d]arc awards ceremony and party, which will return to MC Motors in London on 3 December. The awards party has become a staple in the lighting design calendar, and for the past two years has acted as the unofficial Christmas party for the lighting industry. [d]arc night will feature up to sixteen light installations, created by lighting designers using fixtures from the awards sponsors. Sponsors so far include formalighting, Kingfisher, LED Flex, Lumascape, Seoul Semiconductor and TLS. Lighting design practices involved include: Arup, Buro Happold, Foundry, Hoare Lea, Ideaworks, Ithaca, LDI, MBLD, Michael Grubb Studio, Nulty and Studio 29, along with a special Women in Lighting design team. Last year’s awards saw over 400 entries spanning more than 45 countries, and a record 12,000 votes from the lighting design community. Finland’s WhiteNight Lighting received the coveted ‘Best of the Best’ [d]arc award, while LDI and Linea Light Group won
the Best Installation award for Ministry. More info on the awards and how to enter can be found at: www.darcawards.com
[d]arc media parters with Designers Mind (UK) - Designers Mind aims to promote mental health awareness in the design community. [d]arc media is delighted to announce that it has entered into a media partnership with Designers Mind. Designers Mind is a forum and community, whose mission is to “help improve the mental wellbeing of designers at work”. The community, founded by interior designer and health coach Kaye Preston, aims to break down the stigma around mental health, while promoting a message of openness and acceptance through sharing stories and experiences, holding wellbeing-focused talks and workshops, and providing tools and resources on mental health and wellbeing. Since its formation in late 2019, Designers Mind has already gained a great deal of support in the lighting design community; Nulty’s Kael Gillam is an active member of the Designers Mind team, and the pair have spoken on several different platforms about the forum, and the importance of raising awareness on mental health and wellbeing. Of the new media partnership, arc editor Matt Waring said: “We’re living through some very strange, stressful times at the moment, so it’s more important than ever that we continue to break down the stigma surrounding mental health and encourage more open discussions on the subject. The work that Designers Mind is doing in creating that dialogue, and offering a platform of support for the design community, is something that we are 100% in favour of.”
016
www.arc-magazine.com
Kaye Preston, founder of Designers Mind, added: “We’re so excited to announce that [d]arc media is our first Media Partner supporting Designers Mind and helping us to spread our message: raising awareness about the mental health and wellbeing of designers in the workplace.” www.designers-mind.com
arc_117_climarlighting_AF.indd 1
24/07/2020 12:30:27
The Search of the Glow Taiwan The Search of the Glow is a small installation made by Ling-Li Tseng and Serendipity Studio for the 2020 Taiwan Lantern Festival, held in Taichung over 16 days this February. Situated in a wooded area away from the central visitor plaza, the installation offers a gentle, harmonious and tranquil space under the trees where viewers can commune with nature and take a break from the noisy excitement of the traditional celebration. The installation creates a natural experience, and offers a more ambient, serene alternative to the decorative displays more commonly associated with the festival. A modular, lightweight wooden construction that allows for it to be easily reassemble, The Search of the Glow comprises four large, streamlined wooden hoops that serve as the main structure, while smaller hoops connect them. Together, they form a double curvature geometry based on a sphere. These curved components are laminated of eight layers of wood veneer and inlaid with
Pic: Yi-Hsien Lee and Associates
018
www.arc-magazine.com
strip LED lights, which allow the graceful curves to shine through the mist. Tseng describes the installation as “heaven made and human sculpted - an adventure in light and mist”. Explaining the concept behind the installation, she said: “Mist descends and surrounds the trees of the forest, and in this intermingling creates the feeling of being rooted in the mountains where everything is at once obscured and then distinct. All senses are slowly enhanced, and rays of light guide us to an adventure in the mist. In a grove of trees, we discover an object emitting flickering light - its woven and curved staves engage in a dialogue with the natural curves of the surrounding trees. Walking into this glowing object, we are embraced by curved wood and light, which creates a mysterious spatial experience.” www.linglitseng.com www.serendipitystudio.design
EYE OPENER
www.arc-magazine.com
019
Drawing Board
Illuminated River Phase Two UK Installation of the second phase of the Illuminated River public art commission is now underway. The project will eventually see up to 15 bridges across a 2.3mile span of the River Thames, with the first phase unveiled in July 2019. The second phase will extend the light artwork to include five additional bridges, from Blackfriars in the east, to Lambeth Bridge in the west, transforming nocturnal views of the city, and celebrating the Thames bridges as social, historical and architectural landmarks. By redoubling its efforts during the critical window before the lockdown of construction sites, the Illuminated River Foundation was able to accelerate site surveys, ensuring that design, fabrication and planning of the second phase could progress as lockdown took hold. The result being that, despite Covid-19, the second phase remains on track for delivery. Designed by light artist Leo Villareal, with lighting supplied by Signify, Illuminated River’s second phase encompasses the constitutional heart of London, incorporating bridges alongside sites of significant cultural and historic importance, including Lambeth
020
www.arc-magazine.com
Palace and the UNESCO World Heritage Site of the Palace of Westminster, as well as contemporary landmarks such as the London Eye and the modernist Southbank complex. Once phase two is completed in Spring 2021, the number of bridges lit by the artwork will be expanded to nine, stretching from London Bridge to Lambeth Bridge. As part of this second phase, Westminster and Lambeth Bridges will be enhanced with gentle washes of green and red light respectively – an allusion to the colour code of benches in the debating chambers of the Houses of Commons and Lords. The intricately vaulted undercroft of the 1862 Westminster Bridge – central London’s oldest bridge – will be celebrated for the first time in shifting cadences of soft green light, made possible with generous support from the Reuben Foundation. At the heart of the South Bank, the contemporary spans of the Golden Jubilee Footbridges will be lauded in subtly moving monochromatic lighting. In contrast, Waterloo Bridge, opened in 1942, has been conceived by Villareal as a focal point for exploring
Pics: Leo Villareal
colour palettes represented in paintings of the Thames by American artist James Abbott McNeill Whistler, and Impressionist and English Romantic artists including Claude Monet. Uniting the second phase of the artwork with the adjacent first phase bridges, the wrought-iron arches of the 1869 Blackfriars Road Bridge will be lightly accented in a slowly evolving warm colour palette. Significant energy savings are made by Illuminated River, through a combination of Signify’s LED fittings and reduced hours of illumination, with the first phase showing a significant reduction in energy use compared to previous bridge lighting. To reduce pollution through vehicle emissions and to minimise road congestion, during the second construction phase, deliveries to the bridge sites are being made by cargo delivery bikes. Since launching a year ago, the first phase of Illuminated River has been seen more than 20 million times, positively received by the public and critics alike for its contribution to London’s global identity. The project has also received praise for its sensitive attention to London’s historic built environment, and for its focus on
sustainability and the ecology of the Thames. Neil Mendoza, Government Commissioner for Cultural Recovery and Renewal and Chair of the Illuminated River Foundation’s Board of Trustees, said: “The extraordinary Illuminated River project is a combination of pioneering artistic endeavour and a beautiful, practical lighting contribution to the city’s public realm that will endure for many years.” Justine Simons OBE, Deputy Mayor for Culture and the Creative Industries, added: “The Illuminated River has been a fantastic addition to our city’s rich history of free and accessible public art. It has helped Londoners and visitors to the capital to see the river in a new way, lighting up our unique bridges and celebrating its huge impact on our lives. It’s great news that work is now beginning on lighting up more bridges for everyone to enjoy.” www.illuminatedriver.london
www.arc-magazine.com
021
drawing board
moonPHASE, Lechmere Viaduct USA Lam Partners has designed a new lighting scheme for the Lechmere Viaduct – a concrete arch bridge crossing the Charles River, connecting the West End neighbourhood of Boston to East Cambridge, Massachusetts – intended to bring back a connection to the night sky that has been lost due to light pollution. Entitled moonPHASE, the scheme aims to re-engage the head of the Charles River with the lunar cycles and changing daily tides. The span of the bridge will show a gradient of pastel hued light, representative of the high and low tides each day, while the arches will pick up the colour of the tide at that particular moment, slowly cycling up and down. The causeway lights create a marker, cycling through the same cool to warm pattern as each night progresses. Warm tones highlight unique moments of the bridge. Of the new scheme, Lam Partners said: “To gaze at the stars is to connect with ancient human
022
www.arc-magazine.com
experience. For millennia our ancestors mapped the night sky and found connections between the stars and the cyclical nature of time on Earth. Scientists eventually understood the connection between the moon and tides – today we recognise this phenomenon as tidal locking. Tides rise and fall according to the gravitational pull of our moon as it waxes and wanes through its phases. “Predicted and mapped by the phases of the moon, the ebb and flow of tides creates the daily cycles of coastal communities. Along most of the Eastern coast, this connection to the night sky is lost to rampant light pollution.” Through moonPHASE, Lam Partners hopes to bear witness to the temporal relationship between celestial bodies, putting our tenuous relationship with our planet in context. www.lampartners.com
beautifully lit
Not all lights are created equal. At Orluna, our lighting doesn’t just illuminate a space, it also enhances its beauty. We don’t just sell beautiful fittings, we offer a beautiful lit effect with the most accurate colour rendition – for truer reds and whiter whites. Welcome to a world more beautifully lit.
orluna.com
301422_ArcMag_Enviroment__Ad_236x333_AW.indd 1
30/07/2020 12:00
Spotlight
George De La Tour: L’Europa Della Luce Italy The exhibition George De La Tour: L’Europa Della Luce is the first retrospective showcased in Italy on the French artist, currently open at the Palazzo Reale in Milan. Produced by Comune di Milano Cultara, Palazzo Reale and MondoMostre Skira, and curated by Prof. Francesca Cappelletti and Dr. Thomas Clement Salomon, the exhibition is a new contemplation on still life drawing and experimentations with light throughout the 20th century. The exhibition space, designed by Pierluigi Cerri Architetto, with Maddalena Lerma and Roberto Libanori, has been designed to capture the view of an object that appears as a vision, a vision that could not otherwise be seen - the architectural plan allows the understanding of the scientific criteria, the narrative, the invention. The lighting design, developed by Lisa Marchesi at mldlab, is balanced in gradation and hues, so as to illuminate even those paintings that show a single, very fragile, light source. In De La Tour’s paintings, the light is so carefully studied and analysed that the artist is able to portray a wide range of different lighting effects: from the lighting of a single candle embracing a dark room to a sharp, theatrical
024
www.arc-magazine.com
lighting that freezes an instant, that allows important details to emerge from the dark. The lighting journey designed for the exhibition reflects the painter’s creative process, it follows the emotional tensions and respects the scenography of his scenes. The lighting achieves the intended effect by being organised in specific levels that interact and complete each other. The first lighting level is focused on the paintings, it emphasises the colors, the materials and brushstrokes. It works thanks to a very technical and high-quality lighting. The second lighting level engages the set walls and signs, giving them a delicate and diffused illumination. Lastly, another level, more theatrical, is reached through a soft glow of warm lighting, that is reminiscent of the reflections of candlelight in the room. The moving lighting journey does not distract from, or alter, the artworks. It serves them but also preserves them: each painting is treated with the correct lux level, no infrared radiations and minimal UV rays. The view of the painting is ensured to be glare-free, without reflections or accidental shadows. The track lights used for the functional lighting include
SPOTLIGHT
spotlights that are very flexible because they operate with AR111 sources, available both in halogen and LED versions, because of their on-board dimmer and the variety of accessories available to control the lighting. The chosen halogen bulbs are the dimmable Osram AR11 Pro Halospots Ra100, while the chosen LED versions are the dimmable CRI 95 Soraa bulbs. Another spotlight included in the design was chosen for its high quality CRI98 LED Xicato Artist chips. Lastly, LED projectors are used for all signs, prints and enlarged quotations. The lighting concept developed for the exhibition is based on the idea of using different beam angles throughout the space. Very narrow beam angles are focused on the paintings, while broader beam angles are used for ambient lighting, to create an intimate atmosphere like in the scenes represented by the artist, but also allowing a full and comprehensive view of all artworks. All spotlights have a neutral white colour temperature for accent lighting (3000K) and warm white colour temperature for ambient lighting (<2700K), the latter resembles the dominant candlelight, prevalent in De La Tourâ&#x20AC;&#x2122;s artwork. Marchesi used a number of different accessories, from diffusing lenses, colour gels and filters to snooters, barndoors and honeycomb louvres, to help focus and control the lighting, all carefully maneuvered to reach a delicate and mysterious lighting scenography. Lisa Marchesi - www.mldlab.com
www.arc-magazine.com
025
SPOTLIGHT
Pic: Allan Toft
Øresund Bridge Sweden/Denmark The Øresund Bridge is now illuminated by an energy efficient, dynamic lighting scheme, designed by Light Bureau. As part of its 20-year anniversary, the new lighting illuminates the pylons of the bridge, which crosses the Øresund Strait between Sweden and Denmark, and is part of a specially-designed dynamic solution, where both energy efficiency and aesthetics are paramount. The project began in December 2019, and Light Bureau has provided the complete solution, including technical advisory, lighting design, project planning, custom-designed constructions, technical infrastructure, establishment and programming in a record time. The project was realised in close cooperation between Light Bureau, subcontractors and the Øresund Bridge Consortium. “Our solution is not just about energy savings, power and function. We have also put a lot of energy into the aesthetic expression of the lighting design on the pylons,” said Frederik Waneck Borello, Senior Light Designer at Light Bureau. “We have worked across country borders, during particular circumstances due to the coronavirus pandemic, and through a strong collaboration, we succeeded in creating a customdesigned solution in record time. I am proud of both the whole team, and the results we have achieved.” The lighting system is custom-made to withstand the extreme winds and weather conditions at the
026
www.arc-magazine.com
Øresund Bridge. The old lighting system has been replaced with a new one, which creates an even lighting on the pylons. The lighting is established with narrow-beam Martin Professional exterior wash luminaires, which minimise waste light, helping to reduce light pollution and save energy. The Øresund Bridge Consortium expects that the new lighting system, which can now be controlled and dimmed as needed, can reduce consumption and create a considerable energy saving of up to 80% compared to the old lighting system. Bengt Hergart, Directorat the Øresund Bridge Consortium, looks forward to the modernisation of the lighting, and experiencing the new lighting scenarios that will highlight the bridge’s more than 200-metre-high pylons. “We have worked on a strict time plan to deliver the lighting in time for the anniversary. I am happy that we succeeded and that the lighting delivers exactly what we wished for. The light tests show an impressive and flexible lighting, which is considerably more energy efficient, and at the same time gives the bridge a proper aesthetic expression,” he said. The standard lighting arrangement is for white light, but the new lighting system allows the Øresund Bridge to work with layered coloured lighting in the future, which can be used to express the bridge’s brand and identity on special occasions. www.lightbureau.com
SPOTLIGHT
Pics: Cream Estudio
EDO Spain EDO is a shoe shop located in the municipality of Sitges, a coastal town close to Barcelona that is linked to fashion, tourism and leisure, but above all is a very characteristically Mediterranean town. The store is located in the historic centre, in the heart of one of Sitges busiest streets. When designing the interiors for the store, Cream Estudio wanted to return the premises to its original state, removing all extraneous decoration and including only the essential elements, blended with the warm, raw materials of the traditional construction. The objective for Cream Estudio was to create a unique, attractive image for the store, in harmony with the materials used, bringing a certain degree of intimacy and sense of home for the client. Galician wood panels were used
028
www.arc-magazine.com
throughout, only treated with vegetable dyes, complementing the custom-made furniture. The store is illuminated by a combination of linear fixtures embedded into the furniture and shelving, alongside Grupo MCI’s Kadux multidirectional spots in the ceiling. Elsewhere, Astro Lighting’s Chios 150 black texturised downlights wash the dramatic cross artworks that adorn either side of the entrance to the store. The open façade offers passers-by a sense of respite from the busy street, the store acting as a hiding place, with its peaceful interior. As customers enter the store, the goal for Cream Estudio was to create the feeling of suddenly being enveloped by the warm interior. www.creamestudio.com
The PARQ Office and Retail Development, Bangkok Featuring animation using KKDC ‘Cluster’ media façade technology.
KKDC products now packed using sustainable & recyclable materials
SPOTLIGHT
Darby’s UK The fourth collaboration between Elektra and interior designers Avroko, Darby’s is a restaurant based near the new American Embassy in Vauxhall, London. Intended as a neighbourhood restaurant, it brings simple food, perfectly executed. Lighting within the restaurant needed to accent the multiple areas and focal points, from the oyster bar and drinks bar, to the smoker, meat fridge and so on. Elektra sought to use light as a means to showcase the grandeur of the restaurant, while decorative flourishes also add a touch of class and intimacy to the dining experience for visitors. Given the vast ceiling heights, Elektra used a track system from XAL to allow for flexibility and accentuating, and where possible, these fittings were hidden within the greenery hanging over the space. Elsewhere, surface-mounted linear grazers
030
www.arc-magazine.com
from Filix Lighting and LightGraphix, alongside LED tape from LED Flex, cast a diffuse wash of light up the walls, helping to accentuate the height of the space. Most of the external wall of the restaurant is glass, which presented challenges for the lighting designers as they sought to give a low level of intimate lighting. To solve this, and to create a “neighbourhood feeling”, Elektra used Neoz battery-powered lights on all of the tables in the evening, throwing a small pool of light to each. Controls set to nine different scenes, used at different times of the day, were set up by Elektra as part of the commissioning process. These scenes allow for a transition from daytime to evening, with focus shifting to various areas, as appropriate. www.elektralighting.co.uk
FOUNDRY Throughout its diverse portfolio, London-based Foundry has built a reputation for designing beautiful lighting schemes, in which lighting is seamlessly integrated into the visual environment as a balanced, collaborative part of the overall design. 70 St. Mary’s Axe London, UK 70 St Mary’s Axe is a stunning, semi-elliptical building found in the heart of the City of London. Its distinctive, curvaceous form soars elegantly from the surrounding historic streets. A twominute walk away from The Gherkin, 70 St Mary’s Axe is home to 300,000sqft of office space set over 20 floors. These are located above the ground floor’s double-height foyer. Foundry was appointed by developer Nuveen to deliver a striking lighting feature for the large, open reception space. With a floor to ceiling height of 5.8-metres, the reception area needed to feel light and airy, with a sense of welcoming and warmth. The lighting solution for the space includes a number of concealed light sources, with the aim of counteracting unwanted reflections on the expansive glass façade. Taking centre stage is the fully custom designed Bocci chandelier that spans the seating area. It has been designed to give the illusion that visitors are walking through the installation. Elsewhere in the space, feature free standing lighting creates pockets of warm illumination, while softening the concrete interior.
Andaz London Liverpool Street London, UK Located in the East of London, Andaz London Liverpool Street is a 5-star luxury hotel, ideal for both business and pleasure. The hotel’s location borders the vibrant and popular Shoreditch area with its ever evolving artistic and sociable atmosphere. With 267 bedrooms including a number of suites, the rooms are modern, spacious, finished to the highest level and created to reflect the hotel’s location, history and heritage. Guests can dine and drink at one of the hotel’s seven restaurants and bars. Andaz London Liverpool Street recently underwent an extensive refurbishment. As part of this, Foundry was appointed to provide lighting design services. To reflect the décor of the space, which is conservative intertwined with modern avant-garde East End, the lighting scheme is warm and inviting. It uses contrasting layers of light to help create a theatrical, luxurious environment. The lighting is discreetly integrated into much of the interior, with additional decorative elements introduced to provide a nod to the Victorian era concept.
032
www.arc-magazine.com
SNAPSHOT
Dishoom Birmingham, UK Dishoom in Birmingham city centre is the third restaurant by the chain opened outside of London, and its eighth branch in total. Dishoom, which is inspired by the Irani cafes that once dominated Bombay (now known as Mumbai), will make its new home in the £700m Paradise development found in the heart of the city between Chamberlain Square and Centenary Square. Working with Macauley Sinclair, Foundry has designed the lighting for Dishoom’s Birmingham site, with a fairly structured, multi-layered approach. To ensure the welcoming ambience and comfort for diners, all spotlights and downlights are dim to warm 2700k – 1800k. The accent lighting in the restaurant ensures the décor and interior design can be fully appreciated by diners. Spotlights have been positioned to highlight artworks and signage, while Foundry have designed custom wall lights to illuminate the columns and panelling. All tables are spotlit with narrow beams, with reclaimed desk and floor lamps lighting waiter stations, bookshelves and units. As well as
style, these provide light for the servers working in the restaurant. More general and functional lighting include narrow beams over the restaurant’s walkways, decorative chandeliers over group window tables, and custom pendants over the midheight bar tables. These incorporate two light sources, dim to warm narrow beam spots, and also filament lamps. The backbar, cupboard and bottle steps, as well
as the high level product shelves throughout the space, have all been illuminated with concealed LEDs. This was a conscious decision to add depth to the view from outside. This multi-level, layered scheme is busy and vibrant, much like the interior scheme and the atmosphere synonymous with the restaurant. By using a layered and eclectic approach, Foundry has delivered a design that adds depth and interest to the space.
Foundry
40 Leadenhall Street London, UK Currently at the planning approved stage, 40 Leadenhall Street will be a brand-new building in the City of London’s insurance district. Set within a cluster of tall, eye-catching buildings, 40 Leadenhall Street needs to be in keeping with the historic surroundings, while making its own mark on the skyline. The building also needs to protect the view to St Paul’s Cathedral and be sympathetic to 1921 Billiter Street, a Grade-II listed building on the same site. Architects and interior design studio for the project, Make, have created a stunning concept that delivers a “sensible but striking” 34-storey
design, reminiscent of the classic North American skyscrapers of the early 20th century. Consisting of several stepped blocks, 40 Leadenhall Street’s tallest point is at the north of building. Spread across two towers, the two parts of the site will provide 14 and 34 storeys of prime office space. Foundry is part of the team appointed to the project, which has been dubbed ‘Gotham City’. Working in close collaboration with Make, Foundry is providing lighting consultancy for all front of house areas in the near one million sqft development and façade lighting to 19-21 Billiter Street.
Foundry is a team of expert lighting design consultants that delivers creativity, innovation and passion to every project it works on. Based in London, Foundry designs lighting schemes for a range of sectors, and its portfolio spans worldwide projects including hospitality, residential and retail. Foundry’s designers represent a diverse range of backgrounds and career paths, including architecture, product design, electrical engineering and theatre. This rich mix enables them to deliver outstanding levels of creativity and design innovation, underpinned by technical excellence. While their backgrounds vary, they all have a common passion; light, and lighting design. www.foundry.london
www.arc-magazine.com
033
BRIEFING
Andrew Small As Lumino celebrates its 35th anniversary, arc sits down with founder Andrew Small to discuss how the company reached this milestone, and how the lighting industry has grown over the last 35 years. How did you get into lighting? I graduated from Ravensbourne in 1982 with a BA (Hons) in Furniture and Product Design and following that, had a stint in the interior design department at BDP in London. During this time I was approached by two Italian lighting manufacturers I met while travelling in Italy as a student who were looking for a UK partner to introduce their products and build sales. I was looking for the next opportunity and it seemed like an exciting idea. My father left the RAF after the war and started his own electrical contracting business, so the idea of starting my own business wasn’t such a daunting prospect. I’d grown up listening to my father’s stories of how hard it was for him in the early days, so I had an idea of what to expect. Also, I’d grown up tinkering with electrics and so lighting seemed like a fairly logical step for me at the time. How was Lumino formed? I decided to go it alone and start Lumino in 1985, but had no idea of how to go about setting up a business. I knew image was a crucial factor because I would be essentially selling to designers. I decided to ask Newell and Sorrell to look at it for me and scraped what little money I had together to put towards a good identity. It proved to be a good decision and our identity for a start-up business won them a design award and got us a huge amount of coverage in the design press. We were a name people knew very quickly because of that. I worked from a borrowed office space when I couldn’t work from home anymore and spent my days knocking on doors and making contacts and my nights working on schemes and quotations for clients. Long days and a lot of hours but in the early years of a establishing a business you have to live and breathe it 24/7. How did the company look back then compared to now? And how has it grown over the years? We became very good at helping clients with design and supply packages in the early days. I worked until I couldn’t cope any longer and desperately needed a wing man. I went to my old head of department at Ravensbourne and asked if he new anyone there who was worth looking at. He pointed me in the direction of a student about to graduate. I met him, liked him and realised he had the exact qualities I was looking for. I employed him there and then. That was 26 years ago and he’s still my wing man today, my Design Director Jago Wickers. We have an incredibly strong and trusting relationship and he has a real passion for lighting and more importantly for Lumino. The growth of Lumino has been a slow burn really. We’ve never really been interested in getting rich quick, we enjoy what we do, we drive the business the way we think is right and we work very much as a team. I respect every single person in the business and they all make a great contribution. We’re more like a family these days. We are very lucky in that we are now 20 strong and have a very low turnover of staff. People clearly like it here, so we must be doing something right! What would you say was Lumino’s big breakthrough? Our big breakthrough was very clear to me. It happened after 25 years of being in business. We were always an importer/distributor, selling some excellent brands from manufacturers around the world. We became more and more frustrated over the years that many of the
034
www.arc-magazine.com
brands we represented didn’t cater well enough for our particular marketplace. They designed product for a global market and sometimes this caused us several issues in getting product specified. So after 25 years we decided to do something very radical. We changed our business model completely to become a manufacturer in our own right. Key members of our team are from a product design background and so it was relatively easy for us. We had a very clear idea of the products we wanted to offer, which was mainly linear products. From the moment we made the decision we’ve never looked back. How has the lighting industry changed over the last 35 years? When Lumino was born the world was all PAR 38 lamps and R7 linear halogens. We were right there at the moment the 50mm dichroic lamp hit the lighting world and it transformed everything. Over the years lighting technology has been consistently refined and improved but in small increments. Then the high output LED hit the world and again everything changed. We have been extremely fortunate that this happened just at the time we decided to become a manufacturer in our own right and so we were there pretty much from the start of the LED revolution. I think there’s never been a better time to be in lighting, with the technological advancement of LED over the last few years, it’s a very exciting business to be in and has paved the way for so many innovative lighting solutions in recent years. How do you make sure that you as a company are staying abreast of the current industry trends? It is hard for a small company like Lumino to compete with the major players in the lighting industry, but this is also our defining strength. We have a great team of three designers in our R&D department who are responsible for all of the products we manufacture. They have free reign to improve and refine our existing product portfolio as well as look at new innovative products. We have an exciting new product development programme at Lumino and luckily we have the financial resources to keep this going through these uncertain times, so we are very excited about the new products we’re currently developing. We have a growth programme that will see us expand our sales in North America. We have been selling in this market for a few years now in a small way, but now we are ready to begin to drive that growth. What do you think the future holds for the lighting industry? I am very optimistic for the future of the lighting industry. Since I started Lumino I’ve seen a steady evolution in this industry. It’s a more important ally of the construction industry than it ever has been and it’s generally a very professional and well thought of industry these days, very different to the 80s when Lumino first started. For us we are led by the lighting designers that specify our products and this profession has grown incredibly in the last 30 years. This has had seen a marked development in the way companies like Lumino have evolved and has a huge impact on the products we design. With energy consumption and zero carbon emissions being such an important factor now, I think we’ll see some great innovation in the coming years and the lighting industry’s role in the sustainability of the planet, and the wellbeing of the people who rely on light in their lives has never been so important. www.lumino.lighting
036
www.arc-magazine.com
INTERVIEW
Change For Good Tiphaine Treins, Founder of Temeloy Lighting, is leading the charge to a more sustainable future in the lighting industry with the Lighting for Good charter. arc speaks with Treins about the charter, and how her career led to this point.
A
s the issue of sustainability
and contacted Nicolas Martin, Lighting Manager
across the lighting industry,
established network of high-end, capable suppliers,
and beyond to ensure that she
platform,” Treins explained. “Nicolas was interested
as possible.
support and the dedication of the LVMH suppliers, it
becomes more prevalent
at LVMH for help. “I knew that he had built an
one designer is going above
and I thought that this connection could be a good
leaves as minimal a footprint
and decided to commit to the project. Without his
Alongside running her own lighting design practice,
would have taken years to get to where we are today.”
three years been committed to the pursuit of more
first piece of work that the pair produced, the
culminating in the formation of the Lighting for
own website, where they propose a free certification
assesses the environmental impact of light fittings.
around eco-design. Here, designers can use an
and compelling issue for all aspects of our way of
environmental impact of the fittings that they want
overpopulated planet is not sustainable.
The pair also established a “think tank” with 12
industry. Yes, LED technology is more efficient, but
to collaborate in a pragmatic and efficient way”.
cannot be repaired or re-used.
formalighting, Orluna, Flos, Lucent, Molto Luce,
grandmothers used – if the bulb goes out, we simply
and Bluelite, who regularly hold discussions on
or new fittings, we better hope they never break
sustainability efforts.
right there. We have to change the way we are using
for Good think tank has been to develop a
In her efforts to raise awareness on the issues of
standard,” Treins explained. “The silhouette will
prepared a draft for an eco-lighting label in 2017,
interchangeable, like we used to do with lightbulbs.
Temeloy Lighting, Tiphaine Treins has for the past
While the Lighting for Good charter was the
sustainable, eco-conscious lighting solutions,
collaboration has since led to the launch of their
Good charter – a scientific rating system that
process to further develop a lighting community
“I believe sustainability is a universally overriding
“eco-design spec sheet template” to calculate the
living,” said Treins. “Our current impact on our
to specify.
“I have long questioned the waste in the lighting
lighting suppliers, that Treins believes “enables us
in the end, we may have a fitting that costs £200 and
This think tank includes manufacturers such as
“While we can still use the table lamps our
Reggiani, Self, Zumtobel, Delta Light, Luce5, Nopoc
replace it – if we want to use new overhead lights
ways in which the lighting industry can improve its
because there is no way to repair it. Something is not
“This year, the chief project for the Lighting
our new technology.”
35mm LED module that can be used as a market
sustainability within the lighting industry, Treins
be the same for all the suppliers, so that it can be
www.arc-magazine.com
037
“I believe sustainability is a universally overriding and compelling issue for all aspects of our way of living.” Tiphaine Treins, Founder, Temeloy Lighting
“The vision is that if you have a building using 5000 modules, or the
500 shops of a brand using this module, you can refit the modules when needed, but you can also keep them when you refit the shops or change the lighting equipment. In this model, the light engine can be refit and re-used indefinitely. We are dealing with a closed loop. The business model, in this case, can be based on a product-service system.”
Through all of her work with Lighting for Good, Treins is hopeful that it will lead to a sea-change in the way that lighting fixtures are assessed, although she conceded that there is still some way to go.
“In the lighting industry, I think the issue is complex because the tools that we are using to quantify the environmental impacts of the fittings need to evolve,” she said. “At the moment, the Life Cycle assessment that calculates the impact from production to the end of life has
limitations. One of the most important limitations is that whatever
toxic material we are using is considered obsolete in comparison to the energy consumed during the life of the fitting.
“In this model, the impacts of the material are almost negligible. Does that mean that it’s OK to use plastic for wrapping or plastic for some
parts? The answer is no, not at least until we have a better way to recycle plastic. We need to understand that any piece of plastic will take around 1,000 years to decompose (depending on its composition), and that process generates an enormous quantity of toxic microparticles.
“And again, you can use your grandmother’s lamp when your kids won’t Above The concept for the Moonstone superyacht project utlises Treins’ ‘Augmented Architecture’ approach, in that the colours of the sunrise or sunset could be captured to animate the hull. Treins could also play with the caustic effect of the reflection of the water on the hull to create a striking lit effect. 1. For the lighting at Salon Particuliers in Le Bon Marché Rive Gauche in Paris, Temeloy used a mixture of architectural and decorative fixtures for a luxurious, high-end feel, while custom “livres lumineux” (luminous books) add a creative, playful element. (Pic: Gabriel de la Chapelle) 2. Treins’ career has seen her work across a wide variety of disciplines, meaning that she doesn’t have one particular specialism or signature style. (Pic: La Grande Épicerie Rive Droite) 3. Treins’ brief for the dome of the Elephant Paname Arts & Dance centre was simply to create “something special”. Through discussions with the client, Treins was able to understand further what the space needed, resulting in this spectacular lighting design. 4. One of Treins’ highlights from across her career was the design of the 11-metre-high chandelier aboard the 86-metre Aquila yacht.
038
www.arc-magazine.com
be able to repair the lamp that you purchased this year. Are we relegated to using old things? Why do new fixtures have so many drawbacks? This take/make waste system inherent in new lighting fixtures does not make sense.”
The success of Lighting for Good culminated in the Lighting for Good
awards at the end of 2019, where manufacturers such as formalighting,
Delta Light, Lucent and Bluelite were recognised for their work in using sustainable materials and processes throughout the manufacturing
process. Following the success that it has had already, Treins is hopeful that the Lighting for Good movement will continue to gain momentum as sustainability becomes a bigger concern within the industry.
“The aim of Lighting for Good is to develop a community around eco-
Interview
1
2
3
4
design and lighting,” she said. “We are now looking at how we can
that makes us conscious human beings – understanding that there
collective intelligence.
with the best possible result. I have learned that a good relationship
that eco-design is an efficient engine for innovation and a drive to
and the end result.”
the Lighting for Good awards – we wanted to create a strong
starts with a blank page and the feeling of knowing nothing. I listen
for innovation.
what makes the client tick, before I start having ideas. It’s this
the movement and the opportunity to create new solutions and new
“For example, the brief for the dome at Elephant Paname Arts &
Before setting up Lighting for Good, Treins founded her own
then after many questions, I started to understand what the space
2009. With a background in the art world, Treins had previously
This approach, Treins feels, is what has resulted in Temeloy working
going on to work for one of the artists represented in the gallery –
to exterior schemes and even yacht designs and what Treins refers
“I worked for him for eight years and was in charge of managing the
to pin down a particular ‘signature style’ across her work. “I will
“Fabrice created a very diverse range of artwork, which enabled me
legged sheep.” However, she says that she always strives to bring a
“Following my experience with him, I worked in a lighting design
– something that can be felt but not seen, and where the eyes are
After establishing Temeloy in 2009, Treins moved the studio to
that there is no recipe for this.
develop new possibilities with lighting, and London is a vibrant
production. The sense of beauty comes from the result, but also the
Working regularly with “very creative, like-minded people”
“There is magic when people start to understand that they are
approach has had a lasting impact on both her work, and her design
personal limitations to commit to the project fully. This is where the
“I have been lucky to have had profound relationships with a
Temeloy’s ‘Augmented Architecture’ is a means to develop lighting
– individuals who have given me a better understanding of what it is
Treins’ portfolio of work include the Renault Motor Show in Paris, for
enhance it, as we want it to be based on collaborative culture and
are multiple complex layers to working with people and to ending up
“Through our experience over the last three years, it is evident
with my team and with my clients always enhances the experience
reduce production cost. This is one of the reasons why we created
Speaking more on her creative process, Treins said: “It always
opportunity/synergy around eco-design and present it as an engine
carefully to understand the story behind every project, as well as
“If we all take steps at our respective individual scale, it will amplify
process that helps me propose a solution.
standards.”
Dance Centre in Paris was simply: ‘We want something special’,
independent lighting design studio, Temeloy Lighting, in Paris in
needed.”
interned at a well-established contemporary art gallery, before
on a broad range of projects, from residential and museum lighting,
Fabrice Hyber.
to as “augmented architecture”. Because of this, it’s hard for Treins
production of his installations and exhibitions,” Treins explained.
say that we are specialised in Mouton à 5 pattes (French for a five-
to learn about a broad spectrum of media.
human touch. “I feel that it’s possible to infuse a space with ‘soul’
studio as a project manager, and decided to specialise in this field.”
seeing more than the mind can grasp,” she said. “The tricky part is
London in 2013. “I was looking for ways to continue to learn and
“It requires a difficult dance between the creative process and the
centre for the lighting industry,” she said.
process with all the persons involved.
throughout her career, Treins believes that this collaborative
working on something unique and outstanding, and let go of any
philosophy.
ordinary becomes extraordinary.”
variety of professional people in my life who I consider as mentors
solutions that interact with their surroundings – examples from
www.arc-magazine.com
039
INTERVIEW
1
2
1. La Memoire Traversée, an art exhibition held in the Elephant Paname Arts & Dance centre, where Treins’ lighting design helps to bring a sense of drama to the space. (Pic: Jehan de Boujadoux) 2. Alongside her work on the Lighting for Good charter, Treins is also currently working on an exciting concept for Givenchy Parfum entitled La Lumiere du Noir. 3. One of Treins’ design principles is to create something more emotionally investing for the public. This is evident in the living façade of the Grande Épicerie in Paris, whose living storefront plays very differently depending on the time of day or time of year.”
3
which Temeloy did all the technical development, in 2012, alongside
all,” she explained. “There were so many obstacles. We knew that we
The approach is an attempt by Treins to create something more
Looking forward, Treins revealed that she’s currently developing an
“When walking in a city such as London or Paris, one is always
Alongside this, she continues to put plans in place for Lighting for
the ‘hero shot’,” she said. “With augmented architecture, I strive for
for Good charter.
realms are infused with moments of poetry.
pandemic could act as a wake-up call for the lighting industry, and
Paris, whose living storefront plays very differently depending on the
environmental footprint and sustainability efforts.
the colour of the sunrise or sunset can be captured to animate the
world,” she said. “In the wake of such an international crisis, we are
of the water on the hull.”
that we have more concern now than ever regarding sustainability,
represented her first patent. “It took five years to develop a technical
“We need the lighting industry to push the boundaries of
as there was no precedent for what we developed. We created
fittings so that their parts can be re-used, transformed or recycled
Other highlights for Treins include the chandelier aboard the Aquila
using precious metals, but some solutions are starting to emerge like
exciting piece,” she said. “We only had ten days to install it, and the
and uses fewer precious materials.
of personal fortitude and courage to find a solution and the resources
can do so by creating solutions for problems that we are directly
“My understanding is that in these intense situations, you can either
create a successful synergy that will propel all of us toward a
escalates from 100% to 200%.”
www.temeloy.com
the aforementioned Elephant Paname dome, also completed in 2012.
were working on something extraordinary.”
emotionally investing for the public.
exciting concept for Givenchy Parfum entitled La Lumiere du noir.
marvelling at the obvious landmarks – for most, it is simply seeing
Good, including the 2020 awards, and the expansion of the Lighting
a more multi-dimensional experience where urban spaces or public
Speaking of the current situation, Treins believes that the Covid-19
“A couple of examples are the living façade of the Grande Épicerie in
she has urged more designers and manufacturers to think about their
time of day or time of year. For the Moonstone superyacht project,
“Clearly, the Covid-19 pandemic has touched everyone around the
hull. It’s also possible to play with the caustic effect of the reflection
all reassessing our lives and what is essential. It is without question
Moonstone stands out as a favourite project for Treins as it
because we all feel we need to look for solutions.
solution to this design. The process required a lot of commitment,
sustainability and be a model for other industries. We need to design
everything from scratch.”
into the replacement fitting. Zero waste is ambitious, as LEDs are
– an 86-metre yacht. “This was an extremely complicated and
the laser LED, which is four times more efficient than actual LED,
metalwork that was delivered was faulty. It took an extreme amount
“All of us have the power to co-author a distinct new future. We
to finalise the installation on time.
confronted with. If we each do our part, then together, we can
give up or be grateful for the adrenaline rush where all your energy
sustainable future.”
The standout project for Treins though, is the Elephant Paname
www.lightingforgood.org
dome. “It’s one of those projects that might not have happened at
040
www.arc-magazine.com
C
M
Y
CM
MY
CY
CMY
K
When there’s light, there’s life Women in Lighting’s Nigerian Ambassador, Goziem Ukachukwu, sits down with arc’s Assistant Editor Sarah Cullen, to discuss her journey into lighting and life as a lighting designer in Africa.
B
eginning her working life as a
areas of Interior Design. I started out with lighting
starting a travel agency business, it
up my mind to focus my attention there. I took other
banker, then transitioning to
wasn’t until Ukachukwu decided to
take a leap of faith into the creative sector to pursue her passion for design that she discovered her
love for lighting. “I started off my career in commercial
banking. I worked in the banking sector for six years and
then went ahead to start my own travel agency business. “I ran the agency for 10 years but realised I still had
the desire to go after the passion I had always nurtured inside me - the passion for creating beautiful spaces. I started out with some short online courses on Interior
Decoration before I finally enrolled for a diploma course in Interior Design. While studying Interior Design, I
realised that I wanted to create a niche for myself, so I
decided to get more of an understanding in the different
042
www.arc-magazine.com
first and after attending a lighting course, I had made short courses in lighting design and also attended Light Middle East, where I met some experienced industry professionals that encouraged me. So - I started my career as a lighting designer.”
Ukachukwu’s educational portfolio now includes a Bachelor of Education, an MBA in Business
Administration and three certificates in Lighting Design and she is currently working on a diploma programme
in Interior Design at the KLC School of Design at Chelsea Harbour, London.
Noting Rebecca Weir as her lighting hero, Ukachukwu reflected on the wisdom and inspiration she received
from Weir during her time in education: “She was my first lighting teacher and her story of how she first
developed an interest in lighting is also similar to mine.
women in lighting
www.arc-magazine.com
043
5
Above A selection of retail and residential projects complete by Goziem Ukachukwu. 1. Retail Project - Surulere 2. Residential - Colindale gardens 3. Residential - Carlton Gate 4. Goziem Ukachukwu working with some LED strip lighting on site. 5, 6 & 7. Retail Project - Surulere
3
2
1
6
created. It has been quite a challenge explaining
book, The Languages of Light, has become a
help make their space safe and bring it to life
me to start out as a lighting designer, and her design manual for me.”
Returning to Nigeria to work as a lighting
designer, Ukachukwu commented on the role
“In Nigeria, we do not really have a lot of people working as lighting designers. Instead, we
have a lot of lighting and electrical engineers and those actively involved in sales and
distributions of different light fittings. Lighting design, in the real sense of it, is not well known in Nigeria. It needs a lot more awareness
www.arc-magazine.com
7
“She gave me a piece of advice that encouraged
and its presence in the African design industry:
044
4
to people why they need a lighting designer to and to help them achieve energy efficiency,” she said.
When asked about her philosophy when it comes to lighting and design, Ukachukwu
explained how “light is the life we live” and that when we live in darkness, “there is no life”.
“Design helps us to create a space that is safe and beautiful to behold, arranged to achieve its ultimate functionality and has the right psychological effect on those occupying it.
“Light is a very essential part of our life - it was
women in lighting
the first of God’s creations. Our whole being and
of the light fittings in order to help the client save
enables us to see, recognise and appreciate every
a very high priority. The aesthetics or the beauty
every aspect of our life requires light. It is light that other thing in our environment. It is the light that
comes through our eyes that illuminates our whole world. We are constantly trying to bring these
original words of the first creation, ‘let there be light’, into all our spaces,” she explained.
An incredible achievement, Ukachukwu believes
one of her first completed lighting design projects was the one to ‘put her on the map’ as a lighting designer in Nigeria. “It was a project carried out
for a church that was in the public eye and actually showcased my career as soon as I started,” she explained.
“I would now consider my most recent project of
designing a whole office building that incorporates three retail spaces, eight administrative offices, one boardroom and a canteen as my most well-
known project to date. It brought out my skills in a broader perspective.”
Standing out as a female designer in the lighting industry and in Nigeria is something that
Ukachukwu has recognised needs celebrating
and exposing more. “I would really love to stand out. I would also want to bring ideas into the
industry that will lead to the solutions for different needs of the consumers. I will be able to identify these needs by paying attention to the different
challenges or the needs that have not been met by existing products while working for my clients. “I hope to stand out by paying attention to the
tiniest details that seem to be overlooked and by applying a lot of passion,” she added.
Witnessing the dramatic shifts throughout the lighting industry, Ukachukwu has been at the
heart of experiencing some of the technological developments: “The world of lighting has
really evolved dramatically over the years, both
technically and aesthetically. From incandescent to LED, from direct to mains, to the use of drivers and the creation of energy efficiency,” she explained.
“From having one source of lighting for ambience to the layering of light, creativity is also a very major part of lighting design. Lamps are now created to shape the light they emit.”
When applying these evolved tools for lighting,
Ukachukwu explained how she tailors her lighting schemes for each project: “When planning a
lighting project, I consider the use or functionality of the space, the architectural features of the
cost. The safety of those occupying the space is also that the lighting will bring to the space is also a thing of consideration for me.”
As the WiL ambassador for Nigeria, Ukachukwu is working hard to promote the roles of women
in the industry and encouraging more to join the profession.
“Lighting designers are better recognised
and considered today as very essential people in handling projects, but I believe that more awareness still needs to be created.
“A lot of women are presently involved in lighting as much as the men, the only difference is that men are more noticed or better recognised.
Bringing women into the forefront or bringing
light to the role women play is the major reason as to why we have WiL today,” she added.
“My role as a WiL ambassador in Nigeria has
exposed me to the fact that we hardly have women whose main career is in lighting design. We have women as electrical engineers and mostly in the sales and distribution of light fittings.
“My short-term goal is to encourage the majority of women in the business of selling light fittings to move further in expanding their scope into
the area of designing. My long-term goal is to
provide training for the Nigerian women who will be passionate about lighting design. Having a lot of people in the industry will help create better awareness.”
Looking ahead to the path she embarks on as an ambassador and practicing professional in the
lighting industry, Ukachukwu seeks to continue in her education both as a student and teacher: “My career has just started, and my goal is to
keep on growing. I will expose myself to a lot of
training that will help me in upgrading my skills
consistently, and I will do my best in contributing to the growth of the industry through unique
problem solving, resulting from new demands or future needs.
“I will also work collaboratively with other
designers to bring solutions and new creative innovations to the industry,” she explained.
“I see the world of lighting revolving around and
adjusting to the future innovations of the different industries and human needs.” www.womeninlighting.com
space, the kind of people that will occupy the space - their way of life - and the psychological effect it would have on them.
“I also put into consideration the energy efficiency
www.arc-magazine.com
045
women in lighting
Pic: Alex Bracken
Pic: Angela Bailey
Pic: Sharon McCutcheon
Pic: Aaron Weiss
Pic: Eneida Hoti
Pic: Alex Nemo Hanse
Pic: Josue Escoto
Pic: Reynolds Weu All pics courtesy of Unsplash
T-Shirt Weather As inspiring messages of hope continue to spread around the world, Women in Lighting has launched its own T-shirt competition, inviting supporters to express their creativity and spread their own positive messages. Sharon Stammers tells us more.
T
he WiL in Lockdown series of
more messages appeared all over the globe.
September. Our lovely judges will pick 10
website helped everyone that
that catches my eye in the street where I
housed on our very own WiL T-shirt shop.
feel a sense of solidarity with other WiL and
messages and for creating global solidarity.
will go to the US-based charity Light Reach.
our spirits to see the submissions every
global phenomena by sharing our positive
on social media and for news about the
mini-interviews on the WiL
submitted or read the entries
WiL supporters around the world. It lifted
day and helped us all feel connected. Your
positivity was inspiring. We collated all the
‘Your Silence will not protect you’ is the one live. Without a doubt, it’s a time for sharing Women in Lighting wants to join in this messages, and to achieve this we are
launching a T-shirt design competition.
designs that will be made into T-shirts and Any profits from the sale of these T-shirts Watch out for information on our judges competition as it proceeds. We believe that:
songs that you submitted into an eclectic
The T-shirt was originally designed to be a
Light uplifts us.
on Spotify via the website. It’s an uplifting
world’s most ubiquitous fashion item has
Light can bring us together.
transported us to all the places and spaces
are a great barometer of social change. They
www.womeninlighting.com
and inspiring playlist that you can listen to mix of countries and musical styles that
basic undergarment. But over the years, the become a powerful political weapon. T-shirts
we have been and reminded us of all the
can shock, outrage, unite and challenge the
Since then we have become a bit obsessed
messages around the world.
faces we have come across.
with messaging. In recent months we have all been bombarded by some serious and
status quo. They can also help to disseminate With a T-shirt as your canvas, WiL invites you to express your creativity to create a
scary messaging - ‘stay alert’, ‘control
special WiL T-shirt that share the values
at the same time we have been treated
equality, empowerment, inspiration and
the virus’, ‘stay home, save lives’ etc, but to a unprecedented wave of positivity in
message form, with signs in windows and on billboards about kindness, community and
helping each other (My personal favourite is the one in our window – “It won’t stay like this forever” from David Shrigley). Then
came the #BlackLivesMatter movement and
046
www.arc-magazine.com
of our community. Using the themes of
light, we invite you to submit a design for this competition.
We kick off the competition on 17th August and the WiL website will be open for
submissions from them. All the T&Cs are
on the website, along with a form to submit your design. Submissions will close on 30th
Light inspires us.
What do you want to say?
Tracker Vyko Lynar Eye . Insider Pixy Black Hole
intra-lighting.com/Novelties-2020
048
www.arc-magazine.com
project
Lighting the Void Instantly recognisable as a Zaha Hadid project, the Opus in Dubai is the latest landmark in the ever-expanding city. arc speaks to dpa lighting consultants and Illuminate Lighting Design about the lighting design for this stunning building.
PROJECT DETAILS Opus by Omniyat, Dubai, UAE Client: Omniyat Properties Lighting Design: dpa lighting consultants, UK; Illuminate Lighting Design, UAE Architect: Zaha Hadid Architects, UK Photography: Laurian Ghinitoiu
www.arc-magazine.com
049
1
“It was refreshing to work on a design that is not typical. A Zaha Hadid design is always ‘flowing’, and the form of the design is a driving factor.” Rikus De Kock, Lighting Project Director, Illuminate Lighting Design
T
he marriage of Zaha Hadid’s iconic architectural vision, and the ever-expanding opulence of Dubai would seem to be a perfect match to most architecture aficionados. This dream pairing was brought to life with the
completion of the Opus earlier this year.
Home to the new ME Dubai Hotel, the Opus is located in the Burj
Khalifa district adjacent to Downtown Dubai and Business Bay on the Dubai Water Canal. Exploring the balance between solid and void, opaque and transparent, interior and exterior, the design was
presented by the late Zaha Hadid herself way back in 2007, and is notable in that it is the only hotel in which she created both its architecture and interiors.
Spanning 84,300sqm, the Opus was designed as two separate towers that “coalesce into a singular whole”, taking the form of a cube. The
cube has been “eroded” in its centre, creating a typically Zaha Hadid free-form void that is an important volume of the design in its own right. The two halves of the building on either side of the void are linked by a four-storey atrium at ground level, as well as an
asymmetric, 38-metre-wide, three-storey bridge 71-metres above the ground.
“The precise orthogonal geometries of the Opus’ elemental glass
cube contrast dramatically with the fluidity of the eight-storey void at its centre,” explained Christos Passas, Project Director at Zaha Hadid Architects.
The cube’s double-glazed insulating façades incorporate a UV coating and a mirrored frit pattern to reduce solar gain. Applied around the
entire building, this dotted frit patterning emphasises the clarity of the building’s form, while at the same time dissolving its volume
050
www.arc-magazine.com
project
2
3
through the continuous play of light varying
elegantly detailed façade.
transparency.
volume and canvas to which the lighting could
individual units of flat, single-curved or double-
outer body of the building to sit like a monumental
using digital 3D modelling that also identified
dynamic lighting options with the LED pixels being
between ever-changing reflections and
The void’s 6,000sqm façade is created from 4,300 curved glass. This curved façade was designed
specific zones that required tempered glass. During the day, the cube’s façade reflects the sky, the sun
Curry continued: “The void forms an important complement by only lighting this void, leaving the
mirrored sculpture. Our intentions were to provide used to create visual interest that could be used on a day-to-day basis as a sophisticated solution or
and the surrounding city, while at night, the void is
subtle and soft colour, through to providing more
individually controllable LEDs within each glass
designs used for specific dates within the UAE and
The lighting design for the exterior void was
For dpa, the project spanned several years from
illuminated by a dynamic light installation of panel.
dynamic event lighting solutions and specific world calendar, for example.”
developed by dpa lighting consultants, who were
concept to completion, first joining the project in
solution to the façade lighting, and to take into
illuminate such a unique and complicated piece of
asked to provide “an interesting and practical
consideration the visual appearance during the day and night, and the desired seamless appearance
2013, with various interesting challenges to
architecture. And while the brief called for a
relatively simple solution, Curry added that “there
and integration into the façade,” explained
was a lot of detailed work carried out post-design
consultants.
regards to visual and technical development”.
Michael Curry, Senior Associate at dpa lighting A critical design consideration for dpa was to
ensure that the lighting equipment did not detract
from or compromise the beautiful, smooth flowing form of the internal void. Maintenance and energy were also important considerations, as well as the infrastructure and integration into such an
1. Recessed linear lighting fixtures blend into the fabric of the interior architecture, harmonising with the interior design while never drawing focus. 2. 5,000 individually controlled 1.5W LED ‘points’ of light, custom-made by Vexica in collaboration with dpa lighting consultants and ZHA, illuminate the vast void on the Opus’ exterior. 3. The Opus is the only hotel in which the late Zaha Hadid created both the architecture and the interiors. The interior design is full of typical Zaha Hadid flourishes, from the undulating, curving surfaces to the ultra-modern furnishings.
stage with the manufacturer’s design team with As such, dpa collaborated closely with ZHA and other team members, alongside lighting
manufacturers Vexica to develop a unique, bespoke product that would integrate seamlessly into the
façade of the void. This resulted in the installation
of 5,000 individually controllable 1.5W LED ‘points’
www.arc-magazine.com
051
1
052
www.arc-magazine.com
project
2
4
3
1. The 6,000sqm void on the Opus’ façade was designed to reflect the sky, the sun and the surrounding city by day, while at night it is illuminated by the dynamic light installation. 2. During his work on the interior lighting, De Kock took inspiration from the wider work of Zaha Hadid, studying all of her designs, and how they evolved into the Opus. (Pic: ME Dubai) 3. Situated in the Burj Khalifa district, The Opus includes the ME Dubai hotel, alongside office floors, serviced residences and restaurants, cafés and bars. 4 & 5. Through a “language of renders and visuals” provided by the architects, Illuminate Lighting Design could ascertain that the lighting design was extremely clean, with typical curved lines. This same language flowed from the rooms throughout the public areas. (Pics: ME Dubai)
5
of light, which provide a sophisticated and dynamic
explained, came more in a “language of renders
control system, programmed by Creation, enabled
However, “through the visuals it was clear that the
‘pixels’ acting as a creative tool with which to paint
ZHA curved lines. The same language flowed from
Inside, the ME Dubai hotel incorporates 74 rooms
De Kock added that while the design changed
office floors, serviced residences and restaurants,
intent of clean ceilings and curved lines remained
robatayaki restaurant ROKA and the Maine Land
the use of hidden linear fixtures creating flowing
Typical Zaha Hadid flourishes and themes permeate
of the building.
unusual shapes feature throughout the building.
De Kock while working on the project – particularly
lighting for the external void, the interior lighting
from ZHA. “It was refreshing to work on a design
Design. Rikus De Kock, Lighting Project Director at
theatrical side of lighting, and back then we
the back end of 2014 to work with ZHA and our
typical ZHA design is always ‘flowing’, and the
design direction and implement it for construction
into the ‘flow’ of the design, it is quite remarkable
“Opus was a bit different to our usual projects in
“The main challenge was to match the technical
consultant and we just work with them on the
intent and still achieve the correct lux levels
direction from ZHA that included the overall
lighting and technology, we could overcome this
technicalities with HBA to make it a reality.”
While ZHA presented De Kock and the Illuminate
lighting solution. Using Pharos’ DMX lighting
and visuals”, rather than a specific narrative.
unique tailoring of the content, with the LED
lighting design was extremely clean, with typical
light across the inner void of the façade.
the rooms throughout the public areas.”
and 19 suites, while the Opus building also houses
during the timeline of the project, the overall
cafés and bars, including contemporary Japanese
the main focus. This is evident throughout, with
Brasserie.
lines of light that seamlessly blend into the fabric
the interior of the Opus, as undulating curves and
This feeling of flow is something that stood out to
While dpa lighting consultants designed the
considering the typically atypical interior design
design was developed by Illuminate Lighting
that is not typical,” he said. “I come from the
Illuminate, explained: “Illuminate was signed on
deliberately strived to make everything unusual. A
interior parent company, HBA, to take ZHA’s
form of the design is a driving factor. Once you get
documentation.
how the lighting design just follows.
the way that we typically have one lead design
specifications of the lighting to match the design
lighting side. Here we had a very specific design
where needed. Luckily in the age we are in with
lighting mood, and we had to work out all the
quite easily.”
The brief for the interior lighting design, De Kock
team with a series of visuals to guide the lighting
www.arc-magazine.com
053
project
design, he explained that the entire process
downlights from the likes of Reggiani,
architects dictating what they wanted. “It
complement linear light strips from LED
“ZHA would provide us with the visuals of
driven by the design and technical
the lighting design were then ‘fixed’, so to
still make the lighting functional,”
“For example, if we had a cove or pendant
as clean as possible, and used low glare
would work to keep it, but we would also do
Although the fixtures specified by
lighting where it was needed. We would
engineered out of the project due to budget
comments. However, in some areas we had
final outcome, believing that the “overall
purely interior and no lighting was added,
complements the architecture”.
based on that.”
by the remarkable architecture and interior
inspiration from the wider work of Zaha
design doesn’t draw focus; instead it needs
would live up to the striking architecture.
highlighting Hadid’s beautiful architectural
and how they evolved into the Opus,” he
lighting design, Illuminate and dpa
building is a masterpiece, I drew from that
solutions, showcasing the latest jewel in
Throughout the building, Illuminate
www.dpalighting.com
felt more collaborative, rather than the
Ecosense, iGuzzini and LightGraphix to
was mainly a two-way street,” he said.
Flex. “The fixture selection was 100%
their design intent, and some elements of
performance that we had to get out of it to
speak.
explained De Kock. “We wanted to keep it
in an area from their design intent, we
fixtures wherever possible.”
the lighting study and add or modify the
Illuminate were eventually value
then get back to the ZHA team with our
restrictions, De Kock is pleased with the
more of a free reign as the ZHA design was
lighting design intent can be seen, and it
therefore we had to do the lighting concept
Indeed for a project such as this, so driven
In these instances, De Kock took
design, it is important that the lighting
Hadid to create a lighting scheme that
to serve as an accompaniment,
“I did a lot of studies on all of her designs,
design. In both the interior and exterior
said. “As the actual architecture of the
respectively developed seamless lighting
for the lighting design.”
the Zaha Hadid crown.
specified a combination of spotlights and
www.illuminateld.com
054
www.arc-magazine.com
lighting specified iGuzzini Laser Blade iGuzzini Linealuce Mini recessed Ecosense Rise F80 Ecosense Slim Cove DIM Helvar Control System, supplied by Creation LED Flex Eco Flex 120 LED Flex Eco Flex 180 LED Flex Lumen Line 240 LED Flex Micro Neon V LED Flex RGBW 3000K IP20 LED Flex Slim Flex 120 LED Flex Ultimo Top View Legrand Control System, supplied by Creation LightGraphix LD38 LightGraphix LD41 LightGraphix LD42A LightGraphix LD43 LightGraphix LD51 LightGraphix LD1092 LightGraphix LD10238 Pharos Controls Architectural DMX System, programmed by Creation Reggiani Ceiling recessed LED fixture Stretch Ceilings stretch ceiling TAL Micro Tommy 3 Leaf Vexica Custom 1.5W RGB LED Spanning 84,300sqm, the Opus was designed as two separate towers that “coalesce into a singular whole”, taking the form of a cube. The cube has been “eroded” in its centre, creating a free-form void.
056
www.arc-magazine.com
DARK SOURCE
Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced
www.arc-magazine.com
057
The Future of Workspace Lighting After several months of working from home due to the Covid-19 pandemic, arcâ&#x20AC;&#x2122;s Matt Waring speaks to a range of lighting designers on what the pandemic will mean for workspace design in the future.
O
ver the last few months, as the Covid-19
pandemic has taken over the world, we have
seen a huge shift in the way that we work. The traditional commute to the shared workspace has been exchanged for the new routine of
working from home - a huge culture shift for many of us that will have taken some time to
get used to; whether this was adjusting to the new surroundings,
the lack of social interaction (save for a Zoom call here and there), or being able to separate home and work life at the end of the working day.
However, the longer that lockdown has progressed, the more that
we have been able to take stock and reassess not only our working behaviours, but also our working environments. Our ideas of
productivity both within and outside the office environment have changed, which has in turn opened up the discussion on how the
workspace will be used in the future. For the lighting design industry, this has also opened up the question on the role that lighting will play in workspaces going forward.
So as the majority of the world appears to finally be returning to some form of normality, with many starting to return to their
usual workspaces, we spoke to a number of lighting designers to
get their thoughts on how the current situation has impacted their
working habits, and what they believe it will mean for the future of workspace design.
Helen Diemer, Principal at The Lighting Practice, has already
recognised that working remotely will become more and more
prevalent, although she is pleased at how quickly her team has been able to adapt to the â&#x20AC;&#x153;new normalâ&#x20AC;?.
058
www.arc-magazine.com
workspace lighting
“We are fortunate to be in a profession in which we can do a lot of our
One person who wasn’t as affected by the sudden and drastic change
situation for our work, I’ve been impressed by how quickly our team
& Innovation at Cima. As Brad lives in the Netherlands and works
from home while still meeting our clients’ needs and deadlines. This
adjusted to working from home.
collaborating electronically is not as easy as collaborating in person.
said. “In fact, having everyone else in my company forced to
from home was going to be a very temporary thing (I expected to
first-hand what it is like to be a remote worker. I think the pandemic
ad-hoc. About a month ago, I realised that we may be doing this
accepting of interacting with remote colleagues.”
my workspace more comfortable and convenient. Similarly, we are
wavelength as him when it came to their new working arrangements,
tools/technologies to enhance communication and collaboration
although he had some understanding that this may not be the case
component of the way we work in the future.”
“Teleconferencing has most definitely increased my productivity,”
a similar experience in adjusting to the new routine of working
And with the trans-Atlantic time difference, I have all morning to
certainly wasn’t ready to adapt my entire work life to a domestic
with teleconferencing calls. I’ve found myself amazingly productive
“Beginning with the basics, I didn’t have a proper desk to fit two
colleagues who had to work from home, especially for dual-income
option was to work from the dining room table in the basement. This
Alagna agreed that, once she was settled into her new workspace,
two weeks I completely lost track of hours and days. As a lighting
environment with no distractions – with no one around to interrupt
lamp on the market, with a great CRI, perfect colour temperature
by the end of the day. I also noticed the plus side of not having to
hiding in a cave. However, in my second week I definitely started to
we only have to click on a link, and we’re in communication with the
“Located on the 7th floor, our office in London had very good
caught us in a vortex of time-consuming video calls making us feel
with almost none. It was hard to concentrate on daily tasks and
Conversely, both Diemer and Herrick are unsure about whether
arrived and I moved my workspace to the first floor in front of a huge
personally, it depends on what I’m doing,” said Diemer. “I would say
Scott Herrick, Founder of Spark Studio Lighting Design also found
accomplish. Quiet individual work like writing proposals goes very
from home, although he’s found the experience more pleasant than
– where I want to communicate with other team members – is a lot
“My team and I have all retreated to our homes and apartments
each other in the office and have a casual chat, we have to schedule
and email. We meet regularly via video conference and have gotten
a host of technology challenges, with microphones and speakers
preferences, although my office is in the corner of the cellar, which
client commitments, but in general I believe we are less productive,
“There are window views to the outside though, and my area is very
balance their office work with childcare and home-schooling.”
offices, but it is also much more quiet and mellow.”
face to face”. He continued: “I think there are spells of focus and
work remotely,” she said. “And while this is by no means the ideal
in working conditions was Brad Koerner, VP of Product Development
has been able to pivot from working together in the office to working
for a company based in the United States, he was already very well
has required a lot of patience and perseverance though, because
“Teleconferencing was already the ‘new normal’ for me,” he
“As for my personal situation, I started out thinking that working
teleconference actually helped me – everyone got to experience
be here just a few weeks!), and so my workspace set up was rather
will permanently adjust people’s attitudes and make them truly
for quite some time, so I’ve begun to make adjustments to make
Brad continued that once the rest of his colleagues were on the same
starting to think about investments we may need to make in new
the transition had a positive impact on his productivity levels –
for our team – recognising that working from home is likely to be a
for the whole team.
Martina Alagna, Intermediate Lighting Designer for Nulty, shared
he said. “I secured my own private office, so I have no distractions.
from home: “The change was so radical and unexpected that I
do my focused work, while my afternoons are efficiently stacked
environment,” she said.
in this arrangement. But it was definitely hard on some of my
screens on; I had to purchase one online. While waiting my only
families that had to manage children at home too.”
room had the smallest window you could imagine, so during the first
productivity increased. “It’s much easier to concentrate in an
designer I tried to overcome the problem by using the best LED desk
your concentration, hours move quickly, and tasks are completed
and indirect light to enhance the ambience and avoid the feeling of
commute and leave the office several times a day for meetings. Now
see the effects of limited natural light.
entire world. However, the fact that we’re settled at home has easily
access to daylight, so I never really experienced working in a space
busier than before.”
productivity was slowly decreasing. Finally, when my new desk
working from home has led to an increase in productivity. “For me
window facing nature, I felt reborn!”
that I’ve been generally productive, but many things take longer to
himself working in the basement once he made the move to working
well at home where I have fewer distractions, but collaborative work
Alagna did.
more cumbersome and time-consuming. We don’t just bump into
and have been connected by phone, video chat, instant message
a time to meet, and when we do meet (virtually), we contend with
to know each other’s dogs and children and interior decorating
and lag times. And for our team, they are working very hard to meet
has been interesting.
and that many people are experiencing very long days as they need to
well lit. The current setup has much less daylight and views than our
Herrick concurred, adding that “it is a challenge to not be working
www.arc-magazine.com
059
Helen Diemer, The Lighting Practice
Karsten Ehling, Lichtvision
Scott Herrick, Spark Studio Lighting Design
Brad Koerner, Cima
Martina Alagna, Nulty
productivity, but in general everything seems to take a little bit
the entire work-week has been a very different mental and physical
with it, can intrude much easier than having a dedicated workplace to
completely productive and inspired.”
“However, work at home also evolves, and we’re learning more how
series of thoughts about the human condition and our existence.
and physical breaks.”
relevant, which inspires designers to re-think and re-design our
added that while, for the Berlin-based studio, the transition to
we live in.
an effective workflow. “Guidance and efficiency for juniors in
facing, and we must all undertake actions to make our planet a better
don’t call a senior colleague every half an hour when a question arises,
dynamic and diversified metropolis with no time to slow down and
“I enjoy the silence when working from home, it’s easier to build up
actual productivity.
However, I definitely prefer a professional environment and the
more time in reading and listening to inspiring webinars – this has
“It’s good and bad at the same time – internal team communication
It’s about adapting; we have a great ability to acclimatise to our
less distraction at home. The home office is good for work, but the
For Diemer though, it’s less about drastic changes, and more about
For some designers, the change of scenery that came with working
more productive. “There are some things I’ve observed from the
their usual workspace – from appreciating the social interaction that
we return to working in our office. The first is that it is good to have
need to create spaces better suited to increased digitisation.
“I used to bring work home from the office in the evenings and on
interactions and the variety of different settings I work through from
was always haunting me that there was more work that I needed to
lunch, drinks, events. Conversely, being confined to one space for
working from home, I realized that I could close the door and walk
longer and there are more distractions. Home life, and all that goes
challenge – hard to justify complaining, and yet difficult to feel
go to where everyone else is also about getting the work done.
Alagna added: “This whole lockdown experience has unleashed a
to better manage our time and restlessness, as well as taking mental
The way we use workspaces has become incredibly poignant and
In a similar vein, Karsten Ehling, Managing Director at Lichtvision
built environment to better suit the everchanging digitalised world
working from home was relatively smooth, it took a while to establish
“We’re now more aware of the environmental issues that we’re
particular is quite challenging during such a set-up,” he said. “You
place to live. The stress of being in constant movement in a super
but it’s easy to tap your neighbour’s shoulder when in the office.
think can definitely drain you of energy, which could be invested in
and follow a story – a lighting concept, a proposal, a presentation.
“Now that we’ve been forced to stay home, I’ve been able to invest
separation of private and business life, at least in terms of workspace.
fed my creativity and made me feel more connected with my work.
and teamwork suffers, as opposed to having more concentration and
circumstances.”
office is essential for emotional contact and identification.”
understanding little processes that make working life easier and
from home has caused them to change the way that they think about
experience of working from home that I want to keep in mind when
comes with working in a busy office environment, to realising the
separate spaces for working and living,” she said.
Herrick said: “It has made me realise how much I value face to face
weekends. I would park my laptop at the dining room table, and it
meeting and transacting business, commuting to work, going out for
do. Once I moved my laptop to the spare bedroom when we started
060
www.arc-magazine.com
workspace lighting
away from it all when the day is over.
is over.
more time around my husband and son while
appreciate something is to take it away from
need to prioritise those interactions, including
people appreciate and treasure spending time
reasonable hour at the end of the working day.”
But people will want to enjoy their friends and
each of the designers that we spoke to talked of
we’re going to see a focus on laying out spaces to
to meet – the notion of creating pleasing spaces
However, contrary to Koerner’s thoughts, the other
comfort, enabling for some degree of flexibility
workspace projects they are currently working on.
and focusing on the user’s individual needs being
understand both their short term and long term
These goals have typically been built around
spaces,” said Diemer. “Ultimately, our lighting
will congregate together. However, while “social
and potential new standards for office furniture
psyches, Koerner is not convinced that the “open
of our current workspace clients is revising the
“Everyone across the globe is now suddenly hyper-
distancing. Most are proceeding using pre-Covid
people,” he said. “‘Social distancing’ became a
are expecting that there will be an interim period
to even stand in line at Starbucks, much more
will continue working from home and there will be
some snotty, sneezing stranger. And I think this
can enforce social distancing without reconfiguring
into the future after this global black swan event
Ehling added that he’s not sure any new social
“Secondly, I’ve enjoyed the opportunity to spend
“However, the fastest way to make a person
working from home. It has reminded me that I
them. I think the global lockdown has made
disciplining myself to leave the office at a
with their families and friends more than ever.
Typically, when working on workspace projects,
families separate from all those other groups. So
the standard requirements that they always aim
strengthen small social groupings, even in offices.”
that blend functionality and efficiency with visual
designers haven’t seen much drastic change in
through task lighting and increased controllability,
“We will need to work with our clients to
the primary goals for the lighting design.
needs with respect to how they intend to use their
large, open, shared spaces where many users
designs will have to respond to the client’s needs
distancing” has become deeply embedded in our
and partition layouts. Interestingly, only one
office” concept will remain in place.
design of their workspace to allow for better social
sensitive to their body’s relationship to other
space planning standards. It seems that some
global term in a matter of hours. People are afraid
(before a vaccine), where some of their workforce
sitting for eight hours, cheek-by-jowl next to
fewer people in the office. With fewer people, they
hypochondria – rightfully so – will persist long
the workspace or renting more space.”
Above With lighting design by Spark Studio Lighting Design, the Radiology Partners headquarters in El Segundo, USA, features vast, open “Collaboration Spaces”, breaking away from the typical workspace structure. (Pic: Kim Rodgers Photography)
www.arc-magazine.com
061
2
1
1. Maggies in Leeds, UK, designed by Heatherwick Studio with lighting design from Light Bureau, showcases the benefits of biophilic design, in which plant-life is incorporated into the fabric of the building in a bid to promote both physical and mental wellbeing. (Pic: Hufton + Crow) 2. The Amazon Spheres in Seattle, USA, designed by NBBJ Architects, are a prime example of modern workspace design, with lots of open meeting spaces for staff to congregate and collaborate. (Pic courtesy of Meteor Lighting) 3. Nasdaq PHLX in Philadelpha, USA , featuring lighting design from The Lighting Practice, features a mixture of open and private offices, meeting and conference rooms, training facilities, a trading area and multiple amenity spaces. (Pic: Eric Laignel Photography)
062
www.arc-magazine.com
3
distancing measures, if introduced, will necessarily
various countries when lockdown enforcements
do not believe that the space per employee will
much point in being so restrictive in a work
will be reduced due to the establishment of home
seems impossible to enforce in other walks of life,
similar way – or even more.
I’m positive that we’ll see more and more
of working, the office is even more important
optimistic that wellbeing fused with sustainability
communication and connecting. So we might
A key area within this idea of unconventional
and emotional lighting, supporting inspiration
concept of biophilic design. It’s something that
focus on health and the use of data (occupancy
design sector for the past year or two, as more
environment.”
nature and plant life. “At Nulty, we are being asked
projects and the designs proposed by the architects
indoor and outdoor planting where there’s a lack
belongs to a pre-pandemic world, so it’s still too
“Architects are aiming towards a greener and more
the construction industry,” added Alagna.
our physical and mental wellbeing. For example,
think that design solutions will involve short-
with Vertical Forest in Milan, Heatherwick Studio
socially distanced world, but I don’t believe this
NBBJ Studio with the Amazon Spheres in Seattle,
perception of lighting design.
“I believe lighting should follow, becoming more
we’ve seen how people have behaved across
advanced controllability for individuals and
impact on the lighting design of workspaces. “I
have been lifted. Personally, I don’t see
increase,” he said. “If the number of workspaces
environment, especially when social distancing
office options, rental areas will be reduced in a
like in pubs or on public transportation. However,
“If the home office becomes a sustainable way
unconventional workspaces in the future. I am
to provide meeting facilities, space for
will be at the heart of design moving forward.”
see a shift from office lighting to more flexible
workspaces that Alagna is keen to explore is the
for people. I also believe there will be a stronger
has been gaining traction within the lighting
sensors, air quality, etc) to optimise the work
clients seek design strategies that incorporate
“We’re currently working on several workspace
more and more to design lighting to preserve
are very much part of a thinking process that
of daylight,” she explained.
early to see a switch of direction from clients and
sustainable built environment that connects to
“For our immediate return to the office, I
architecture practices like Stefano Boeri Architetti
term changes to quickly adapt our lives to a
with Maggie’s Leeds and 1000 Trees in Shanghai,
circumstance will stay long enough to change our
are re-shaping the future.
“Humans are born to interact with each other;
sustainable and addressing technology towards
workspace lighting
collectives. Lighting only becomes ‘tangible’ when
Scott Herrick has, during lockdown, been
new architectural principles and design.”
shape the future of lighting in the workspace. “We
architectural principles, one design principle that
from a hands-free perspective, and health and
hot-desking. Very popular within modern, open
of the technical disinfection modes available to
how much longer this concept will continue in the
ventilation systems,” he explained. “Many
For Koerner, it’s a concept that he believes
front in response to the current pandemic.
of organisation. “The whole concept of open
mental and emotional health, but we need to feel
huge backlash even before the pandemic. Some
of contact. Lighting in spaces will need touch-free
to dramatically reduce personal productivity and
rooms need to be converted from occupancy mode
“While certain types of team clusters can truly
sensors. Dimming and scene setting can be done
live verbal communications, the vast majority
already respond to motion and daylight sensors
that complete lack of acoustic or visual privacy,
profiles, and this will extend to most if not all
Diemer agreed that, in the short term at least, the
will be more limited and thoughtful.
she feels, will be “less comfortable using a shared
may well find great use in mechanical systems,
need for in-person interaction, and “the creative
stations, train carriages, healthcare settings,
same space”, will mean that there is still a place
service.”
“The challenge for designers,” she added, “will
effectiveness of UV-C lighting, especially in
to facilitate safe and respectful in-person
has the potential to kill bacteria and viruses, it is
“Flexibility will be key,” Ehling added. “When
be used in very controlled applications such as
wherever else they choose to work, rigid structures
and reduce mould growth, or to treat surfaces in
reduction of workplaces and parallel repurposing
Instead, she believes that in the workspace,
and inspiration is what I see coming up.”
(VLC) and Bluetooth in lighting systems or ceiling
we will see more flexible working arrangements
systems could help to monitor how spaces are being
environments, and working from home. “Today
more frequent cleaning, or they might help manage
consciously or unconsciously, we’re already
“We also think that digital lighting and controls
coworking spaces,” she said. “Co-working spaces
will allow for more personalised control with
almost replicate what happens in universities,
enable a person to turn on their lights when they
improving ourselves and our work by making
circulation to their individual workspace.”
“A wide variety of environments tailored to our
being used as a means to identify high traffic areas,
digitalised era we are living in and the comfortable
creatively harnessed into design solutions such
Alongside discussions on the layout of workspaces,
offices or more personalised spaces.
technological developments such as UV-C lighting,
vacuum up data, and can’t meaningfully return
creating healthier, safer working environments.
continuously optimised basis. I’m a big believer in
it meets the surface, therefore we need to adapt to
conducting some research into how Covid-19 will
While lighting designers may need to adapt to new
have been looking at various aspects of controls
remains up in the air presently is the concept of
wellness benefits of lighting, as well as some
office workspaces, there’s a serious question as to
kill viruses in spaces, on surfaces and through
health-conscious, post-Covid world.
technologies that exist now will get pushed to the
should be on the way out, depending on the type
“We are all anxious to return to work if only for our
offices, especially ‘hot desking’, was facing a
safe. Part of that is minimising high touch points
very prominent studies have shown open offices
operation throughout. Offices and conference
actually diminish innovation,” he said.
to vacancy mode so that lights go on and off with
benefit from open offices with continuous,
through an app on your phone. Many spaces
of functions in a business do not benefit from
and software controls lights via programmed
regardless of the lighting concept or technology.”
spaces. Our circulation and spontaneous activity
idea of hot desking will be challenged, as people,
“UV-C lighting also has specific applications and
desk or a workspace that they cannot control”, the
high frequency, high density spaces such as subway
energy that comes from working together in the
school assembly areas, food preparation and food
for these open offices.
Diemer however, is more sceptical about the
be to develop office plans and technologies
workspace environments. “While UV lighting
collaboration.”
also dangerous to human beings and should only
people alternate more between the office and
HVAC air handling units to treat recirculated air
would be counterproductive and uneconomical. A
unoccupied spaces.”
of space to encourage communication, creativity
technology such as Visual Light Communication
Alagna was in agreement that moving forward,
beacons could become more important. “These
that will include both hot desking in open office
used to identify high traffic zones that warrant
with the internet we can work anywhere, and
shared workspaces to avoid over-crowding.
moving towards flexible and multidisciplinary
will become more prevalent. Digital lighting
are an inspiring hub full of diverse ideas that
interfaces, such as an employee key card that could
where we never stop learning and are constantly
enter the building, illuminating the normal path of
connections.
Following on from this idea of lighting systems
different needs throughout the day will match the
Koerner feels that such opportunities could be
spaces we like to be in.”
as ambient media, whether this is used in open
debate continues as to the effectiveness of
“IoT technologies are meaningless if they can only
hands-free controls and occupancy sensors in
that information to impact the real world in a live,
www.arc-magazine.com
063
workspace lighting
the power of ambient media – using architectural
services. Because of the global economic crisis
occupants of a space.
many businesses will not be able to afford newly
integrating luminous LED lighting panels or
industry, the lighting sector should provide new
that surrounds us. I don’t think people would
reacquired by the manufacturer and reintroduced
ambient lighting and digital media content that
existing workspaces, and anyone else that’s
companies should be savvy that open offices are
While the Covid-19 pandemic has seriously
ton of innovation potential in marrying lighting
one thing that is clear through our conversations
finally realising the potential of so many concepts
stifled any creativity. We are still as uncertain
adjustments, and treating architecture as a portal
a post-pandemic world, but whatever role the
Alongside the continued development of
certain is that we will have no shortage of creative
sustainable approach adopted within the lighting
through Visual Light Communication, biophilic
of years to embrace the idea of a circular economy.
you can be sure that whatever the new normal
traditional linear economy, yet within the lighting
www.thelightingpractice.com
long way off.
www.lichtvision.com
surfaces to convey low-bandwidth data to the
that will follow the pandemic, it’s likely that
“The costs have absolutely plummeted for
designed workspaces. As part of the construction
digital displays into walls, ceilings and furniture
services whereby products in good condition are
mind working in cubicles that are filled with rich
into the market for businesses that want to fitout
they could tailor to their preferences. Lighting
interested.”
going to face a tough road ahead, and there is a
impacted the way that we work on a global scale,
and digital displays to individual workstations,
with designers around the world is that it hasn’t
in lighting personalisation, circadian lighting
as ever as to what the “new normal” will be in
to the virtual world.”
workspace will take in the future, one thing that is
new technology, Alagna is keen to see a more
solutions. Whether this is through ambient media,
industry. Echoing many calls over the past couple
design or adopting more sustainable approaches,
“A circular economy is an alternative to the
turns out to be, it’ll be beautifully designed.
industry, a ‘reduce, reuse, recycle’ ethos is still a
www.nultylighting.co.uk
“I’d like the lighting industry to urgently focus on sustainable alternatives, creating new
values around a circular economy resulting in new business opportunities and innovative
064
www.arc-magazine.com
www.sparksld.com
www.cimanetwork.com
Above The Center for Programs in Contemporary Writing in Philadelphia, USA, with lighting design from The Lighting Practice, fuses architectural fixtures with decorative elements and soft furnishings to create a more relaxed ambience. (Pic: Devon Banks Photography)
PROLED LINEAR XL luminaire series
The LINEAR XL luminaire series can be used universally and is available in 720 different versions. Each version is also available with indirect light output (uplight) in RGBW or monochrome (4 colour temperatures). ■ ■ ■ ■ ■
5 lengths: 604 mm, 894 mm, 1174 mm, 1534 mm and 1964 mm 3 colours: aluminium silver, white and black 4 covers: crystal clear, frost (semitransparent), milky (opal) and with microprism 3 power classes 4 colour temperatures: 2700 K to 6000 K
Option Uplight
Optional: ■ with indirect light output (uplight) in RGBW – control by RF remote controller ■ with indirect light output (uplight) in 2700 K to 6000 K – separate connecting cable for separate ON/OFF switching
MBN GmbH Balthasar-Schaller-Str. 3 86316 Friedberg · Germany Phone +49.821.60099-0 Fax +49.821.60099-99 info@proled.com
proled.com
In With The Neue For Neue Direktion, an office space housed in the former Directorate of German Railways in Cologne, Licht Kunst Licht developed a minimal, clean lighting scheme that highlights both the traditional architecture and the new modern additions.
066
www.arc-magazine.com
workspace lighting
PROJECT DETAILS Neue Direktion, Cologne, Germany Client: Hochtief Projektentwicklung Lighting Design: Licht Kunst Licht, Germany Architect: kadawittfeldarchitektur, Germany; Graf + Graf Architekten, Germany Photography: Johannes Roloff (Licht Kunst Licht)
www.arc-magazine.com
067
1
I
068
www.arc-magazine.com
n a bid to create a perfect symbiosis of
new, contemporary roof level, whose silhouette
in the former Directorate of German
With the interaction of the neoclassical original
old and new, Neue Direktion, housed
pays tribute to the original roof contours.
Railways in Cologne, fuses traditional
façade and the new glass structure, the Neue
architecture with modern design to create a
Direktion sets an architectural precedent in the
Situated in an open area directly on the Rhine and
of the building sit inside the historic shell, while
Station and Cologne Cathedral, Neue Direktion
a modern and flexible office infrastructure. The
kadawlttfeldarchitektur office, in cooperation
built in accordance with the sustainable criteria of
and old architecture, Licht Kunst Licht has
awarded the DGNB Gold Standard for Sustainability
historic charm of the building with a splendid
Agency (EASA) has been renting the office spaces
lighting concept for the office spaces. In all areas,
Inside, both the architects and Licht Kunst Licht
remain hidden in the background, instead letting
of Cultural Heritage Protection on the interiors.
Under the premise of “tradition meets
ceiling oval and the grand staircase are some of the
alongside the architects, sought to redesign the
recreated. In all instances, per the Department of
homage to the strong historical context of the site,
were deliberately no visible lighting fixtures.
within the context of Cologne’s Rhine panorama.
designs for the best possible integration of light
the preservation of the listed building and its
Because of its stringent requirements, the lighting
striking new feature in the German city.
Cologne Rhine panorama. Four of the seven floors
in the immediate vicinity of both Cologne Central
30,000sqm of office space has been created within
was rebuilt according to the design of the
development on the property was planned and
with Graf + Graf Architects. Based on both the new
the German Sustainable Building Council, and was
developed a lighting concept that highlights the
in October 2016. The European Aviation Safety
light, while also providing a flexible, modern
since May 2016.
it was important for the lighting solution to
worked in close cooperation with the Department
the architecture itself shine.
The impressive, historic entrance hall, the large
modernity”, planners Hochtief Projektentwicklung
architectural features that have been faithfully
former railway directorate in a way that would pay
Cultural Heritage Protection’s instructions, there
while still creating a fresh, modern appearance
Instead, Licht Kunst Licht worked on custom
As such, the renovation follows a fine line between
into the architecture.
historical façade, and the creation of a completely
concept for the entire building was planned in
workspace lighting
2
3
4
5
close coordination with the Department of
refreshing working atmosphere with a glare-free,
the architecture. Such close collaboration
consisting of a uniform grid of nearly invisible
lighting designers, as Benjamin Dorff of Licht
Hoffmeister and Insta, enables a very dynamic
planned with the Department of Cultural Heritage
downlights are complemented by linear fixtures
not easy to meet current lighting standards.
ground floor foyer. Using intelligent light control,
of the luminaires in the historical entrance area,
flexibly adapt to the room’s usage purposes, and
had to be fulfilled, and at the same time we had to
Dorff continued: “To obtain the flexibility of
regarding lux levels and uniformity were
almost invisible recessed luminaires in the
The positioning of the luminaires meant that the
all office spaces. The arrangement of the
ambient light instead emphasising the charm of
façade and provides a homogenous picture from
historical building might have caused some
The discreet general lighting continues in the
placing these fixtures, Dorff explained that, in
Super Sign round surface-mounted fixtures,
building was completely reconstructed from the
Thanks to the minimalist architecture and
integrate the best possible lighting solutions.”
additions to the building, there is a spectacular
the building, in the conference rooms and
the Rhine with the Hohenzollern Bridge on the
Cultural Heritage Protection, and therefore also
yet powerful light. The modern lighting,
however, provided some challenges for the
linear downlights from the likes of iGuzzini,
Kunst Licht explained: “The light concept was
use of the open-space meeting zones. These
Protection, which in some cases meant that it was
from LED Linear in the conference rooms and the
“We had difficulties agreeing on the positioning
users are able to adjust the illumination levels to
for example. The old placement of the luminaires
the associated room layout.
make sure that the new lighting standards
workspaces, we decided on a grid of fixed and
achieved.”
meeting areas and fixed pendant luminaires in
light sources are always in the background, with
luminaires always follows the rhythm of the
the building. While working in a pre-existing,
the outside.”
difficulties for the designers when it came to
bistro, where it is supplemented by Prolicht’s
this instance, it was relatively simple. “Since the
whose colours correspond to the interior finishes.
inside, we had all the possibilities we needed to
well-planned lighting design on the modern
The clean lighting concept continues throughout
view of the Cologne Cathedral on one side, and
workspaces, in order to create a pleasant and
other. Glass office façades recede behind band-
Previous Page Four of the seven floors of Neue Direktion sit inside the historic shell of the building - the former Directorate of the German Railways in Cologne. 1. A key facet in the lighting design brief was to keep the lighting minimal. Light sources had to remain in the background, creating an ambient wash of light that showcases the architecture of the building. 2. Under the premise of “tradition meets modernity”, the planners and architects sought to redesign the building in a way that would pay homage to its historical context while still creating a fresh, modern workspace. Linear fixtures from LED Linear add a delicate wash to the entrance foyer, allowing the grand ceiling oval and central staircase to take centre stage. 3. Huge art screens in the central courtyard of the building are illuminated by homogenous and well-shielded lighting, highlighting the artwork without causing any unwanted glare. 4. LED Linear’s VarioLED fixtures, alongside a central strip of lighting from Trilux, provide a homogenous illumination for the uppermost conference room. Filling the space with light, while not distracting from the dramatic views of the Cologne skyline. 5. The renovation follows a fine line between the preservation of a listed building and its associated historical façade, and the creation of a completely new and modern roof level, whose silhouette pays tribute to the original roof contours.
www.arc-magazine.com
069
workspace lighting
like aluminium cladding, opening up roof
well-hidden artificial light necessary in the
offers 360-degree views over the rooftops of
“The building appeals with its huge open spaces
terraces, while the uppermost conference room Cologne; this space meets its various usage
requirements via the different lighting scenes developed by Dorff and the Licht Kunst Licht team.
Simple courtyards in the core of the building
feature huge art screens, which are illuminated with homogenous, well-shielded lighting, courtesy of We-ef. The building’s façade
meanwhile, is illuminated by spotlights, which
are mounted to the existing street poles for road traffic. The entrance portal, which consists of historic columns, is highlighted by additional accent lighting, again courtesy of We-ef.
While the hidden lighting fixtures help to
emphasise the impressive architecture and interior design of the building, it was also important that attention was paid to the
plentiful natural light on offer. “All spaces with access to natural light have daylight sensors, which in most cases only makes use of the
070
www.arc-magazine.com
evening,” Dorff continued.
The uppermost conference room offers 360-degree views of Cologne, with the Cologne Cathedral and the Hohenzollern Bridge over the Rhine both clearly visible.
with lots of light during daytime. During night time, the artificial light takes over, and due to the well-hidden fixtures, it was possible to
create a smooth and almost unrecognisable transition from day to night time.”
By creating this smooth transition, and
harnessing the available natural light, Licht
Kunst Licht have greatly contributed to creating a workspace that offers a harmonious
relationship between daylight and artificial light – a relationship that is becoming
increasingly important as workers are spending more time indoors, away from natural light.
Much like the balance between historical and modern architecture, the balance between
natural and artificial light helps to create a
pleasant working environment for employees. www.lichtkunstlicht.com
lighting specified Glashütte Limburg Wandleuchte Hoffmeister LED Fortimo Flex iGuzzini Laser Blade Insta instalight LEDLinear Profile Gemäß LV LED Vario Cover R diffuse LEDLinear VarioLED Flex APOLLO2 LEDLinear VarioLED Flex Hydra HD36 LEDLinear VarioOptic SOL Mawa “seventies” 70s Prolicht Super Sign direct Selux M60 Trilux LateraloP We-ef LED surface mounted ceiling luminaires
Vitasolis™
Optisolis™
2-in-1 Tunable LED
High Fidelity Nulty has brought a feeling of wellbeing to the UK headquarters for Fidelity International in London, thanks to a new WELL certified lighting scheme.
072
www.arc-magazine.com
Workspace lighting
PROJECT DETAILS Fidelity International, London, UK Client: Fidelity International Lighting Design: Nulty, UK Architect: AEDAS, UK Interior Design: AEDAS, UK Photography: James French
www.arc-magazine.com
073
workspace lighting
A
s modern workspace design continues to evolve, there
Fidelity International features a blend of office floors, which house a
welcoming environments in which employee wellbeing
collaborative and private working zones, and four storeys that
has been a gradual shift towards creating more holistic,
colourful mix of relaxed and formal working areas including
is paramount. Through the introduction of cosy breakout
include client-facing meeting rooms, lounges and two media studios
spaces, private working areas, soft furnishings and warmer colour
for the company’s video and audio broadcast. Nulty’s final design
staid uniformity of the past for something altogether more inviting.
lighting needs of the workplace with Fidelity’s overall vision for the
headquarters on Cannon Street in London, where Nulty has recently
Gillam explained: “The initial brief for the lighting called for a very
partnership with Fidelity, alongside architects AEDAS and
client-facing areas and the working floors. Colour psychology played
solution centred around employee wellbeing for the global
received broke down the relationship between different material
“From the outset, the intention behind the project was to improve
of the interiors, the lighting had to play a role in celebrating the
for its employees,” Kael Gillam, Senior Lighting Designer at Nulty
disconnected from space to space.”
surfaces on which to display their art collection: these were just some
therapy insight and employee surveys, to guide the lighting design.
and activity.
International from other workspace projects that Nulty has worked
daylight ingress and one of our key roles was to supplement the light
space was a response to the rationale that informed that particular
balance. We also strongly believed in the design of the quiet rooms
of the office needed to be really honed in on to make the day-to-day
often be a hectic day for employees.
While catering to the multi-faceted design narrative sought after in
space had its own identity, and in doing so give employees a variety
recurring motif of linear lighting runs throughout the building,
or relax.”
rooms. Nulty commissioned a bespoke light-insert from LTS,
temperatures, more and more offices are stepping away from the
solution was rational in its response, circumnavigating the practical
This approach is evident at Fidelity International’s new UK
day-to-day wellbeing of its employees.
completed a WELL certified lighting scheme. Working in close
multi-faceted design narrative, with a strict distinction between the
engineering consultants Hilson Moran, Nulty has designed a lighting
a big role in the design of the space; a lot of the early reports that we
investment company’s 108,000sqft office space.
palettes and people’s traits and behaviours. Because of the richness
the client’s current workspace and create a comfortable environment
different finishes and treatments, while not appearing too
explained. “Increased light, higher ceilings, better technology, more
From the outset, Nulty worked with lots of research, such as colour
of the elements that spoke of a desire to increase employee wellbeing
This approach is something that Gillam feels differentiates Fidelity
“The design of the working floors was conceived to maximise
on. “The colour research and how we approached each different
levels in the deeper plan areas to give the overall scheme a sense of
material palette, and the employee surveys guided us as to what parts
and the café, encouraging use of these spaces for respite in what can
experience simpler and more enjoyable,” she explained.
“Our goal was to make sure that the lighting design within each
the initial brief, Nulty kept its design intent relatively simple – a
of different options depending on whether they are looking to work
connecting the main reception, open plan working areas and meeting
074
www.arc-magazine.com
1
“Our goal was to make sure that the lighting design within each space had its own identity, and in doing so give employees a variety of different options depending on whether they are looking to work or relax.” Kael Gillam, Senior Lighting Designer, Nulty
designed to meet WELL requirements and deliver a high colour
rendering for enhanced visual acuity. This linear concept was used in conjunction with adjustable surface-mounted downlights from Modular and Kreon, diffusing light from both the centre and
perimeter of the ceiling to create the perfect contrast ratio for day-to-day working and video conferencing.
On the fifth floor, where a glass skylight has been used to bring
natural light into the room, the light-insert has been incorporated into the central spine of the ceiling. The team used tunable white linear LEDs to match the outside colour temperature with the interior of the room, allowing it to be adjusted from cooler lighting on a bright day to warmer lighting at sunset.
To contrast with the rectilinear design seen throughout the
building, Nulty softened the aesthetic in casual breakout spaces and communal areas with copper and ceramic pendants from Marset, designed to create an environment that encourages
downtime and relaxation. The client-facing meeting rooms were
also given a gentler touch in some spaces, trading out the graphic linear line of light at the border of the room for a glowing circular stretch fabric feature, again courtesy of LTS. Pendants from Vibia
were also added to the café area, producing a false-skylight effect in the only pocket of the working floors where natural daylight could not be found.
“The differentiation between linear and softer ambient lighting
allowed us to distinguish spaces within the scheme,” Gillam said.
“We picked out very rich colours and metallics for the pendants as a way to differentiate the more relaxed breakout spaces from the open plan working areas. The more you encourage someone to take a lunch break, and not to eat at their desk, the better job you’ve done as a designer.
076
www.arc-magazine.com
workspace lighting
3
2
4
“Interestingly though – and despite our best
these conversations, we learnt how to open up that
that people prefer to use the quiet rooms without
hand-in-hand; there was a pretty clear intent for
lights pressed up against the wall to create a really
to function in the space, but they weren’t
something so cosy and personal that people prefer
different ideas.
glow in their periphery.”
had to specify high CRI/R9 value luminaires to
had to be mindful of Fidelity International’s
interior designers were understanding about the
the artwork was not intended to be a focal point,
couldn’t do in various areas.”
“The funny thing is that a key consideration was
were targeting mean that the workspace is much
weren’t meant to draw attention to it – just allow it
lighting design helping to create a more pleasant
explained. “There’s a vast array of both classic and
serious traction, particularly in workspace
had to consider viewing angles, colour fidelity and
development. “I think employee wellbeing is
Throughout the design process, Nulty worked
said.
sharing ideas about the creative direction of the
lighting (defined in a different way each time) for
proposed more creative features like geometric
RFP stage – so you know it’s in the client’s mind as
discussions with the interior design team were
“When you get into the nitty gritty of what the
intentions – we’ve noticed post-commissioning
dialogue. We did so much of the later design
any overhead lighting on at all, or with the wall
how the interior design team wanted the lighting
dim halo of light. We’ve managed to create
prescriptive at all, which allowed us to explore
to be in near-darkness with an almost candle-lit
“We knew pretty early on in the redesign that we
While designing the lighting scheme, Nulty also
achieve the credits we were targeting, and the
extensive artwork collection – although strangely,
restrictions this placed on what we could and
instead blending into the fabric of the building.
The WELL credits that Gillam and the Nulty team
the installation of the artwork collection, but we
more attuned to employee wellbeing, with the
to blend in with the environment,” Gillam
ambiance for staff. This is a trend that is gaining
A/V installation art throughout the building, so we
projects, and Gillam believes that it is an important
glare with our unobtrusive design scheme.”
becoming more of the norm, which is great,” she
closely with the interior design team, regularly
“We get asked about green walls and circadian
project, as Gillam revealed: “In the beginning, we
almost all of our office projects now – even at the
copper or leather padded walls, so a lot of the
a pre-requisite, and not an afterthought.
stricter in terms of lighting. However, by having
different standards and certifications entail it can
Previous Page The office floors of Fidelity International feature a mix of relaxed and formal working areas, including collaborative and private working zones. 1. Although the workspace features a wide selection of artwork, Nulty was instructed not to draw attention to it through lighting, instead allowing it to blend in with the environment. 2. In the casual breakout spaces and communal areas, copper and ceramic pendants from Marset offset the linear architectural lighting, helping to soften the overall aesthetic. 3. A mixture of rich colours permeates the project, with colour psychology playing a big role in the design of the space. Nulty worked with lots of research, including colour therapy insight, to guide the lighting design. 4. A recurring motif of linear lighting runs throughout the building, connecting the main reception, open plan working areas and meeting rooms.
www.arc-magazine.com
077
workspace lighting
1
2
3
be a bit daunting for everyone on the team, but
gaining momentum, there are understandably
stop block to a project where everyone wants to
will change in the wake of the Covid-19
I’ve never seen the difficulties become a total
prioritise wellbeing. I’m a very strong believer
in certifications that focus on educating people about the built environment and giving them opportunities in their workplace and
community to do better for both themselves and others.”
This approach has resulted in a lighting scheme that, while appearing relatively simple on the surface, blends in with the interior design to
create a pleasing, yet functional space. Gillam explained: “I think it’s one of those projects
that looks deceptively simple, but in actual fact
disguises the backbreaking work that went into making it look as effortless as it does.
“In an office space like this, the lighting design
isn’t meant to be front and centre, it’s meant to stitch together the rest of the design and allow
the space to function in the best way that it can. For us, it’s the combination of daylight
harvesting and place-making with a minimalist design aesthetic that will stand the test of time. And I’m pleased with that narrative.”
Looking ahead, while the trend of creating
workspaces that promote employee wellbeing is
078
www.arc-magazine.com
questions being raised about how workspaces pandemic – whether this will create more isolated spaces or put an end to the open, collaborative areas. However, amid this
uncertainty, Gillam is intrigued about what the
future will hold for workspaces: “It’s both really exciting and terrifying to think about how office design is going to be moulded by the realities of
1. Nulty commissioned a bespoke lightinsert from LTS, designed to meet WELL requirements and deliver a high colour rendering for enhanced visual acuity. The linear concept was used in conjunction with adjustable surface-mounted downlights from Modular and Kreon. 2. The initial brief for the lighting design called for a clear distinction between the client-facing areas and the working floors, to match the contrasting interior design of the two zones. 3. In some spaces, the client-facing meeting rooms were given a gentler touch, trading out the graphic linear line of light at the border of the room for a glowing circular stretch fabric feature, courtesy of LTS.
the pandemic,” she said.
“Colleagues have told me about the
governmental mandates in mainland Europe for acrylic partitions between desks and I’ve seen
pictures of school cafeterias in Korea with each
individual seat cordoned off with plastic inserts. “Perhaps the greatest hope I have for all of this is that we focus more on spending time
outdoors and developing flexible working hours. I know that sounds odd coming from a lighting designer, but if we can shift to a less rigid
9-to-5 mentality, then people will be able to get more daylight exposure, time with their
families and generally be happier. Isn’t that what we all want?”
www.nultylighting.co.uk
lighting specified Anglepoise Original 1227 Kreon Aplis 80 LTS Lichtkanal 70 LTS custom SAS ceiling tile integration LTS custom-length trimless recess LTS custom stretch fabric circular trimless recess installations Modular Lighting Instruments Smart Lotis Vibia BIG suspension
PROJECT DETAILS Spielfeld Digital Hub, Berlin, Germany Client: Spielfeld Digital Hub Lighting Design: Studio De Schutter, Germany Architect: LXSY, Germany Photography: Ishootbuildings, Studio De Schutter
080
www.arc-magazine.com
workspace lighting
Bright Ideas For the new Spielfeld Digital Hub in Berlin â&#x20AC;&#x201C; a space that fuses event and workspace lighting â&#x20AC;&#x201C; Studio De Schutter sought to use light as a means to inspire innovation.
www.arc-magazine.com
081
workspace lighting
Previous Page Spielfeld Digital Hub fuses open, flexible workspaces with events spaces in an environment atypical to the usual office space - the goal was to have a space that “promotes innovation”. This Page Track lighting from formalighting, alongside hanging pendants from RZB and LEDs C4 illuminate the space as part of a lighting scheme that is entirely Bluetooth controllable - thus enabling more flexibility for the end user.
082
www.arc-magazine.com
F
or many modern workspaces, one of
Meanwhile aimable spots and tracks offer an
a space that will foster creativity and
which contributes to an extremely user-friendly
the key ambitions for clients is to have
infrastructure that can expand and change – all of
inspire innovation. But how can
set up that De Schutter feels will help in the
lighting design help to create such an
client’s ambition to use the space to inspire
De Schutter was tasked with, working alongside
“To facilitate innovation, you need
Berlin, Germany.
and flexible workspaces,” she said. “Lighting helps
Hub combines open work areas with event spaces
use can make a team feel more aligned and have a
space. With the brief for an office that “promotes
atmosphere to collaborate, communicate and
Studio De Schutter, explained how this impacted
potential to do.”
about understanding user needs. Our key
worked closely with LXSY – an architecture firm
was the need for flexibility.
projects – collaborating to develop a space that
requires adaptability. From an architectural and
“We have worked with LXSY on a number of
adapt their space. Secondly, changing the space
common goal: participatory, user-centred design
it. For us, this meant looking at systems that would
explained. “We all bring ideas to the table, whether
teams to adapt the lighting in brightness,
integrate or mount something, and in our
To create this flexible scheme, De Schutter ensured
“It was very clear from the start that the client
controllable, meaning that the lighting can be
Berlin start-up co-working space, not the coffee
environment? This was the challenge that Studio
innovation.
architects LXSY on the Spielfeld Digital Hub in
multidisciplinary teams, collaborative workflow
Situated in a former post office, Spielfeld Digital
in this process by creating moods. The settings you
in an environment atypical to the usual office
positive impact on collaboration. Creating that
innovation”, Sabine De Schutter, Founder of
concentrate is something that lighting has the
on the lighting design: “Our design process is
Throughout the design process, Studio De Schutter
takeaway, from the design sessions with the client,
that De Schutter has worked with on a number of
“Innovation is an unpredictable, agile process that
matched up to Spielfeld’s aspirations.
lighting point of view, this is allowing the user to
projects. We know each other’s process and have a
should be super convenient otherwise no one does
that aims to think differently,” De Schutter
allow both the hosts of the space and the workshop
they are about materials or colours or how to
orientation and location.”
collaboration we both influence each other.
that the entire lighting system is Bluetooth
wanted to differentiate themselves from the usual
dimmed via an app, as well as traditional switches.
shop style bare bulbs or the usual office-like
VORSA DOT M I N I AT U R E | P O W E R F U L | A D A P TA B L E
ACTUAL SIZE
LO N D O N | PA R I S | D U B A I | M U M B A I JOHNCULLENLIGHTING.COM
1
084
www.arc-magazine.com
workspace lighting
“As lighting designers, our goal is to make the architecture stand out and to make the user feel good. The better we are at our work, the less people notice us, unfortunately!” Sabine De Schutter, Founder, Studio De Schutter
2
lighting. Through our collaborative process with
for the event space, to maintain the character of
a direction and style.”
not even an option. Our entire lighting system is
cleaner and more minimal over time, bringing a
Bluetooth modules.
paying homage to its historical status. By revealing
mounted cabling. So in projects like these, we even
simple colour palette, the architects and the
out of view and not left to change.”
back the historical charm of the space. Further to
surface-mounted track lighting from
complementing the architecture, rather than
Zero Compasso 66 directional spots, alongside
“The idea was to be minimal and not compete with
complemented by LEDs C4’s Pipe and Circular
themselves are very flexible, and we provided very
This combination of lighting options helped the
to make the architecture stand out and to make the
combines both traditional workspaces with event
less people notice us, unfortunately! All they
Schutter feels will become a lot more prevalent in
However, because of the listed status of the site, it
“The combination of workspaces with event spaces
to actually installing the lighting fixtures.
contemporary workspaces. Offices in general are
limitations, and keeping the character of the
exchange ideas and meet your team. Lighting is
challenge. Naturally, we could not mount any
follows norms, instead it becomes more an
said. “Also, there are no recessed ceilings, except
The track fixtures help here to create an intimate
the architects, Spielfeld and their clients, we found
the building. Therefore integrating fixtures was
The style that the design team opted for became
surface-mounted, from fixtures to plugs to
contemporary feel to the listed building, while still
“Surface-mounted lighting also means surface-
the original structure inside, and using a clean,
design the cable layout, making sure that this was
Department of Listed Buildings hoped to bring
Throughout the space, Studio De Schutter used
this, the lighting was used as a means of
formalighting in the form of its 3-phase track and
taking focus away from it.
RZB’s Levido Round downlights, both
the building,” De Schutter continued. “The spaces
pendants.
flexible lighting. As lighting designers, our goal is
design team to facilitate an environment that
user feel good. The better we are at our work, the
spaces – a hard balance to reach, but one that De
notice is that they feel good in a particular space.”
the workspaces of tomorrow.
complicated matters for De Schutter when it came
is something that we see more and more of in
“Working within an existing building does have its
less a space to produce work and more a space to
building while changing its ultimate purpose was a
less something that is purely functional and
fixtures on the exposed pillars and beams,” she
element that reflects the identity of a company.
1. Housed in a former post office, the design for Spielfeld Digital Hub pays homage to the building’s historical status, while still adding a contemporary feel, with a simple, clean colour palette and sparse furnishings. 2. As workspace design continues to evolve, De Schutter believes that lighting will become less about being purely functional, and instead become an element that reflects the identity of a company.
www.arc-magazine.com
085
workspace lighting
1
1. The use of curtains and bright rods help to define areas within the Spielfeld Digital Hub, guiding and offering flexibility to the user to expand and merge the spaces as and when they need to. 2. The use of subtle track lighting with spots acts as a spine throughout the workspace. While the option to add further spots or pendants is an example of how Studio De Schutter has aligned its lighting concept with the vision of the architects, and the needs of the client.
lighting specified formalighting 3 phase track formalighting Zero Compasso 66 LEDs C4 Circular LEDs C4 Pipe pendant RZB Levido Round
086
www.arc-magazine.com
2
and warm mood, away from the standard office
spaces will now have more private and less open
As specialists in creative workspace lighting,
corporations. In terms of lighting, this will mean
designs that eschew the traditional template for
one building.
with modern workspace requirements. “It’s all
create and foster team spirit, instead of a
client,” De Schutter explained. “It’s not about
will see more creative lighting solutions, instead of
different lighting layers and an appropriate
Creative lighting solutions like that found at the
scenarios, and as part of the user experience.
while the lighting clearly serves its functional
the workspace. This is hospitality mixed with the
traditional office lighting of the past. Instead it is
represents. It’s not just about adding the logo
creates a feeling of warmth and creativity – an
is an extension of the way they work, of the affinity
the workspaces of the future.
At the time of writing, the world is slowly starting
like is, you wouldn’t associate this atmosphere
pandemic and ensuing global lockdown. However,
diffuse lighting at all. We want to create
future will be the role of the workspace, with
“For us, design is about creating meaningful
However, De Schutter feels that this change is
love working on workspace lighting because most
struck. “The role of offices is going to change in
lit, functional spaces. We think it’s time to
ago, with co-working,” she said. “Co-working
www.studiodeschutter.com
lighting.”
working areas. They will become hubs for larger
Studio De Schutter is used to developing lighting
catering to this typology, and to different clients in
offices, instead creating more fluid schemes in line
“Also, workspaces will be more for teams and to
about understanding what flexibility means for the
representative space for clients. I believe that we
having tracks and spots, it’s about providing
traditional office lighting.”
infrastructure. We think about lighting in terms of
Spielfeld Digital Hub. Throughout the building,
“With lighting, we aim to add some ‘Corpitality’ to
purpose, it doesn’t call to mind the stale, boring,
values and corporate identity that the workspace
an altogether more modern, inviting scheme that
somewhere. For Spielfeld Digital Hub, the lighting
approach that De Schutter feels will be essential to
for digital tools and their values.”
“The lighting design for Spielfeld is warm. What I
to return to normal following the Covid-19
with office lighting,” she exclaimed. “There is no
one factor that will invariably be different in the
workspaces that don’t want to be ordinary!
workspace design no doubt changing drastically.
spaces that positively affect people’s lives. We
something that started before the pandemic even
people spend the majority of the day in boringly
general, but the trend already started some time
change that.”
Part of the
plc
group of companies
Distinctive Products, Outstanding Service 01623 415900 | sales@kingfisherlighting.com www.kingfisherlighting.com
PROJECT DETAILS Private Company Workspace, Redmond, WA, USA Client: Confidential Lighting Design: Dark Light Design, USA Architects: B+H Architects, USA Interior Design: B+H Architects, USA Photography: Benny Chan, Fotoworks © 2018 Microsoft
088
www.arc-magazine.com
workspace lighting
Thinking Outside The Box When a high-tech company sought to renovate two buildings within its Redmond campus, opening them out into modern, open office spaces, Dark Light Design helped to create a welcoming environment for employees and visitors alike.
W
hen it comes to modern workspace
Rainshadow – products of the two mountain
companies have long been seen to
regions are incredibly diverse – a few hundred
solutions, the world’s largest tech be leading the way. The likes of
Apple and Google are regularly cited for their
innovative workspace designs that veer away
from the traditional office format for something altogether more creative.
This trend is once again on show in the
renovation of Buildings 121 and 122 on the
campus of one high-tech company in Redmond, Washington.
Formerly a labyrinth of formulaic private
offices, the redesign opens the building out into an intelligent workspace built around an open office concept. The new look space blends
plentiful natural light with dynamic artificial
lighting, and was part of a move by the global tech company to bring the two buildings into
alignment with its modern design philosophy, founded on the idea of creating welcoming atmospheres that are rooted in their local environments.
As such, the newly designed buildings are
inspired by two ecoregions within Washington
State – the Olympic Rainforest and the Cascade
ranges that flank the Puget Sound region. These miles from each other, one is characterised by tall evergreen trees, trailing mosses, fallen
trees and filtered light, while the other features open views, deep gorges, caves and large
expanses of open land dotted with barns and silos.
The architectural design therefore looks to
explore the effects of light, form and materiality as interpreted through these lenses, while
incorporating features that reference human activity and adaptation to these regions.
Integral to this is the lighting design; developed by Dark Light Design, the new lighting helps to convey a sense of place, while complementing the unique design and personality of each
building, using techniques layered for visual variety throughout.
Brought on board by B+H Architects, whom
Dark Light had previously collaborated with on other projects, the lighting designers were
tasked with creating “an engaging space for employees and visitors, that supports
innovation and collaboration, meets the very
www.arc-magazine.com
089
workspace lighting
2
1
3
aggressive design and construction schedule, and
worked together to come up with solutions,” she
workplace,” explained Jill Cody, Principal of Dark
Although the renovation spans across two
In the middle of this, Dark Light had to ensure
narrative to remain consistent between the two.
the wider design philosophy of the company.
common design elements between the two
explained further what this philosophy entails:
offices.
engaging, comfortable spaces that are accessible
design, she added that lighting design has
“There is a natural and familiar design language
between the buildings. A key example of this
also reflects the brand’s aesthetic. Work areas
“huts”, that project out into each building’s
rather than all focus being placed on gathering
with a direct linear fixture that creates a graphic
bring the right personality and atmosphere into
122, the lighting detail is turned more inward,
Because of this design philosophy that the client
while still gently highlighting the shape.”
buildings, the overall design schemes were
architectural and decorative lighting elements.
with lighting forming a part of that collaboration.
create a more relaxed, homely effect, while the
project took just one year from design
downlights and suspended linear fixtures from
Dark Light had no preconceived lighting concept.
Vode.
not a linear one, the design was very iterative”.
lighting arrangements flexible, it can help to
evolving even as construction was commencing,
this case, as in many other workplaces, the open
meets the client’s desire to provide a sustainable
added.
Light.
buildings, it was important for the design
that the new scheme would be in keeping with
As such, Cody explained that there are many
Kristen Hagland, lighting designer at Dark Light,
buildings, such as in the treatment of the open
“The philosophy is grounded in creating
However, while there are some commonalities in
to everyone.
actually been used as a means to differentiate
that is rooted in its local environment, but that
being found in the rectilinear conference room
should be treated with great care and attention,
central atrium. “In Building 121, they are outlined
areas. Lighting is viewed as an essential tool to
reveal of the room’s geometry, while in Building
each space.”
with indirect light to reveal the wood material
sought to instil into the fabric of the new-look
Elsewhere, the buildings feature a blend of both
developed in collaboration with the company,
Large pendants in the breakout and casual spaces
However, because of a very short timeline – the
open office areas are illuminated by a mixture of
commencement to construction completion –
the likes of CSL, Reggiani, Tech Element and
Instead, Cody said that “the design process was
In these areas, Cody believes that by keeping the
“While this meant that the design was still
foster a more fluid, creative environment. “In
the entire team was in the same boat, so we all
office areas need to be flexible to allow teams to
090
www.arc-magazine.com
1. Within the newly-renovated workspaces, vast atrium spaces are complemented by rectilinear conference room “huts”, illuminated by fixtures from Ecosense and Luminii. 2. A key facet of the new, open office concept, was to introduce addtional break-out areas, while lighting was seen as a means to bring the right personality and atmosphere into each space. 3. The buildings feature a wide mixture of both architectural and decorative lighting elements; large pendants in the breakout and casual spaces help to create a more relaxed, homely effect for staff members.
STR9 W ®
ILLUMINATING WASHINGTON DC METRO STATIONS
20,000+ FIXTURES INSTALLED | 2,000 LM/FT | 3000K2STEP Luminaire specifically designed for transportation projects and engineered to withstand extreme vibrations and harsh environments.
gvalighting.com
2020-07-08 - GVA, MondoARC Ad, WMATA, V08.indd 1
2020-07-30 11:13:01
1
“Lighting is viewed as an essential tool to bring the right personality and atmosphere into each space.” Kristen Hagland, Dark Light Design
1. The rectangular lighting frames, in different sizes, installed in the office spaces, allow for a placement of light where it was needed, while creating a visual interest beyond the usual expected in office environments. 2. A key part of the renovation was the introduction of the vast, three-storey atrium space, filling the heart of the building with natural light. Dark Light Design complemented the new skylights by introducing daylight responsive lighting controls throughout, helping to contribute to the client’s high value on sustainability. 3. One of the big concepts for the new-look workspace was to provide visual variety to both employees and visitors. Designing different types of lighting in terms of light levels, luminance and contrast was therefore important to Dark Light Design. 4. The buildings have been inspired by two eco regions within Washington State - the Olympic Rainforest and the Cascade Rainshadow - as part of the client’s desire to create a welcoming atmosphere that is rooted in its local environment.
092
www.arc-magazine.com
move and restructure as necessary,” she
“Designing different types of lighting in
throughout each workgroup’s space (which
contrast in the space is important to us, so
spaced) to allow that flexibility.
day to experience some visual relief when
provided an added challenge. The
meeting or take a break. That may mean a
with punctured openings to the acoustic
more luminous light sources in communal
with the irregularly located openings
circulation spaces.”
solution, yet we still wanted to create an
for the lighting within the open office areas
The rectangular frames, in different sizes,
from outside the building, with the
needed, and created a visual interest
fascinating pattern of light.
environment.”
complemented by vast skylights within the
artificial lighting elements, at varying light
these skylights were a new addition,
designers were able to bring a sense of
contractors Howard S. Wright. Prior to this,
new zones, each with their own ambience.
to no natural lighting in the innermost
integral part of their design approach.
To create these monumental skylights, B+H
visual variety to employees and visitors –
along with a robust Revit model to create an
deal of time in these facilities,” she said.
client, which also allowed the entire design
said. “We needed to provide adequate light
terms of light levels, fixture luminance and
weren’t always regularly or efficiently
that employees have a chance during the
“The existing structure’s low ceilings
they leave their team space to go to a
architectural team developed a scheme
relatively low light level in a lounge space,
ceiling clouds. The low ceilings, coupled
collaboration spaces, or higher contrast in
precluded the use of an indirect lighting
The use of a non-standard grid-like layout
interesting and engaging lighting solution.
adds additional moments of intrigue even
allowed placement of light where it was
arrangement of fixtures creating a
beyond the usual expected in an open office
Dark Light’s artificial lighting designs are
By using a mixture of decorative and
inner atrium of each building. However
levels and luminances, the lighting
implemented by B+H Architects, alongside
variety to the space, creating a number of
the building was incredibly dark, with little
This is something that Cody feels was an
areas of the building.
“One of our big concepts was providing
Architects used a series of daylight studies,
especially employees, who spend a great
immersive virtual reality experience for the
workspace lighting
3
2
4
team to collaborate on the size, shape and feel of
before – so we need lighting that addresses that,
contractors then had to cut through the
sure that people of all skin tones look good on
floors, to create the airy new atriums that vastly
Since completion of this project, Dark Light has
Dark Light complemented the new skylights by
design community, including an IALD Award of
throughout. This helped contribute to the new
Design Awards. And for good reason – being
value on sustainability, while lighting power
innovation and promotes sustainability, and does
Washington’s rigorous energy allowance.
Light has achieved this, creating a lighting
state of uncertainty, especially surrounding the
additions, and enhances the space for both
world have been forced into working remotely.
And Cody was eager to share the praise with the
slowly starting to emerge, Cody believes that
amazing team of collaborators all around,” she
will continue to be the norm for workspace
landscape architects, electrical and general
“What we are seeing now is an even harder push
had to work nimbly throughout design and
she said. “Design teams are being asked to
“We were fortunate that they understood the
configurations. Any lighting scheme that is tied
experiential standpoint, and that helped develop
personally don’t think the physical office is
www.darklight-design.com
the new atrium spaces. The architects and
and we need to continue to look for ways to make
structural slab of the building, across three
camera.”
improve the flow and feel of the spaces.
received a great deal of praise within the lighting
introducing daylight responsive lighting controls
Merit at this year’s IALD International Lighting
lighting scheme aligning with the client’s high
given the task to create a workplace that supports
consumption is also 20% lower than
so in a dynamic fashion, is no mean feat, but Dark
In recent months, the world has entered into a
scheme that complements the new architectural
role of the workspace, as companies around the
visitors and employees alike.
However, as the signs of a post-Covid world are
rest of the design team involved. “We had an
open office concepts, such as can be seen here,
said. “The architects, interior designers,
design, as long as they remain flexible.
contractors and owner were all part of a team that
toward reconfigurability in open office spaces,”
construction.
provide layouts for Covid and post-Covid
importance of lighting, both from a technical and
to a furniture layout seems doomed. Although I
the amazing space that resulted.”
doomed, I do think that a post-Covid world will definitely have more video conferencing than
lighting specified Bruck Eco CSL Cylinder downlights Ecosense Trov Luminii Kendo Luminii Lineled II Pinnacle Edge 3 Reggiani Yori Teagan Evo Tech Elements downlights Vode Wingrail Decorative pendants from ALW, Barnlight, Bocci, Delray, Fabbian, Lode, Muuto, Pablo, Rejuvenation, Secto, Tech, Viso
www.arc-magazine.com
093
workspace lighting
PROJECT DETAILS Deloitte HQ Link Bridges, London, UK Client: Deloitte Lighting Design: GIA Equation, UK Architect: Wilkinson Eyre, UK Lighting Suppliers: iGuzzini, LightGraphix, Stoane Lighting
Pic: GIA Equation
Pic: GIA Equation
Pic: Wilkinson Eyre
Pic: Wilkinson Eyre
Link Up Play GIA Equation worked with Wilkinson Eyre Architects to transform the Link Bridges of Deloitte’s London headquarters into a striking feature in which to meet, work and linger.
F
orming a key part of the landmark development of
the interior design and reveals the materiality of the interiors by
designed to connect the new 1 New Street Square site
conceived as an alternative place to meet, work and dwell to enjoy
Deloitte’s UK headquarters, the Link Bridges were with the company’s adjacent 2 New Street Square
building, which sits on the same campus.
The two enclosed bridges link staff social and informal working areas on the first and seventh floor, creating a seamless, yet inspiring journey between the two buildings.
The exterior and interior architecture of each bridge is defined by
the level change between the buildings, so that the necessary ramps and stairs occur within the bridge itself, resulting in a folded plate form. This folded deck operates as a monocoque structure, while the bridge envelope is presented as a stepped shape, with glazed
façade walls from roof to soffit between slender mullions helping to create a seamless connection between the two buildings while accommodating large differential movements.
Intended to be a recognisable landmark within the City of London, the Link Bridges have transparent glazing on three sides, allowing
for direct views into the interiors from street level. Ceiling slats and
roof lights are the primary features to be seen externally, along with the stainless steel triangular cladding that reflects the light from
its surroundings. Both internal and external visual experiences of
the space were considered in great detail, resulting in lighting being perfectly integrated within the architecture.
Working in close collaboration with Wilkinson Eyre Architects, GIA Equation developed a lighting scheme that complements
094
www.arc-magazine.com
creating a warm atmosphere to a transition space that was also the view of the cityscape.
Low level accent lighting from LightGraphix is perfectly integrated within the feature white timber fins, whose shape adapts from
handrail to seating following the change of levels. The design of this element required several mock-up stages – from foamboard in-
house mock-ups, to pre-construction mock-ups, to final installed
fittings and wiring methods being tested during construction stage. Miniature recessed uplights with integral anti-glare shield and tilt film, again courtesy of LightGraphix, are installed inbetween each timber fin, with bespoke fixing sleeves to adjust to the angle of
the slopes. Although seemingly the same, the miniature uplights have four types of lenses, depending on the fins’ inclination and translucent seating or table configuration.
Elsewhere, miniature narrow beam adjustable downlights with
glare shield from Stoane Lighting are used to highlight the vertical stainless steel mullions without light bleeding onto the bridge’s glazed envelope.
The ambient lighting to circulation spaces employs multicell low-
brightness iGuzzini downlights with deep set light sources integrated into the slatted timber ceiling, with minimised direct views of the light sources from both bridges and the street below. www.giaequation.co.uk
Project: Deloitte - Link Bridges Lighting Design: GIA Equation Architect: WilkinsonEyre Product: LD43W with custom angled mounting sleeve
Visit www.lightgraphix.co.uk for more info
Photography: GIA Equation
Pics: Richard Gill Photography
Quality Output As part of a wider effort by the BBC to upgrade its lighting and reduce its energy output, Wila has introduced a new Casambi-controlled lighting system to BBC Scotland’s Pacific Quay studio complex in Glasgow.
L
ocated alongside Glasgow’s former
cost-effective lighting solution.
is BBC Pacific Quay, BBC Scotland’s
and installed in Autumn 2019 – the existing linear
docks and overlooking the River Clyde studio complex. The studios are home
to BBC Scotland’s television, radio, online services, production facilities, digital studios and technical support.
With an industrial aesthetic throughout, the
large, glazed building features exposed concrete
columns, perforated metal cladding and exposed services. As part of its recent redesign, lighting now plays a key part throughout the building,
working to enhance the natural daylight provided from all sides.
As part of the BBC’s continued commitment to its carbon reduction programme, the building was reviewed in terms of its existing lighting
installation, and how this could be upgraded from T5 to LED. Wila was tasked with reviewing the
large open plan office spaces on the second and
fourth levels, along with the main central atrium perimeter walkways and circulation routes, with
the goal of providing a more energy efficient and
096
www.arc-magazine.com
The first phase of the renovation was delivered
T5 direct/indirect luminaires were replaced with
continuous LINIC100 LED luminaires. These were lifted in line with the acoustic rafts, opening up
the space fully to create a much brighter, lighter working environment.
The compact fluorescent surface-mounted
downlights were also replaced with LED versions. All luminaires installed were supplied with
integrated Bluetooth Casambi controls. Casambi
PIRs and a standalone emergency lighting system
were also supplied by Wila, while the ‘Main Street’
area is also due to be re-lit using DMX Griven highpowered LED luminaires with varying beam angles. Casambi’s involvement in the project comes as part of a wider effort by the company to install
its intuitive, app-based lighting control systems
across nine of the BBC’s major UK sites, including the broadcaster’s London HQ.
The new Casambi lighting control system, which harnesses Bluetooth Low Energy Mesh, helps
workspace lighting
to improve comfort for staff, while giving them
thousands of interoperable sensors and control
have to achieve energy reductions of at least
have been installed to enable presence/absence
more flexible, smarter controls. All new upgrades 20% in order to go ahead, in line with the BBC’s sustainability strategy.
Alongside Glasgow Pacific Quay and New
Broadcasting House in London, Casambi’s control system has been installed in London’s Wogan
House and Energy Centre, alongside Mailbox in
Birmingham, Manchester Media Centre, Belfast, BBC Oxford and BBC Radio Nottingham. In total,
more than 10,000 nodes have been installed across the nine sites.
Casambi is based on Bluetooth, and allows
lighting to be controlled from any mobile device.
Casambi Ready luminaires, sensors and switches incorporate a Bluetooth communication module
that enables them to form a wireless mesh network with each other. Using the Casambi app, users can
easily switch and dim lights, configure sensors and switches, and create pre-set scenes.
Choosing a Casambi system gave the BBC team
devices. Sensors from Tridonic and Danlers
detection and daylight dimming, ensuring that
lights are only on when they’re needed. Elsewhere, energy-harvesting switches from EnOcean are
also being used, which provide another easy way
for staff to control the lights. EnOcean’s wireless
switches are particularly well suited to Casambi, as it is the only lighting control system in which they can be paired with the whole network, rather than just the nearest individual node, ensuring reliable commissioning and operation.
Paired with Wila’s range of luminaires, Casambi’s
lighting control system helps to create a pleasant, modern working environment, that in Glasgow Pacific Quay’s case, amplifies the industrial
aesthetic, while comfortably adhering to the BBC’s eco-conscious initiatives. www.wila.co.uk
www.casambi.com
access to the entire Casambi Ready ecosystem of
www.arc-magazine.com
097
workspace lighting
A House of Many Ideas The LED Linargo from ADO Lights helps to enlighten the Düsseldorf offices of sop architekten.
T
he home of Düsseldorf architecture firm sop architekten incorporates spacious rooms, lounge areas for
employees, a think tank for concentrated work, a model making with its own workshop and an inviting garden.
For sop architekten’s new location, the LED Linargo from ADO
Lights has been used to create a rich working atmosphere. The very simplistic design, paired with the exact level of brightness, created more space for creativity. The filigree LED Linargo is used at the
worktables, running the full width of the desks at lengths of 1.69 and 3.37-metres. Not only does it provide basic lighting, but it can be
flexibly adapted to the respective situation by the separate switching of direct and indirect light. From the entrance to the meeting rooms, the minimalist, functional LED-Eris track lights were installed in
black and white. The moveable track lights can be used to create the
right atmosphere in the premises of the company and help to ensure that team members stay focused. www.ado-lights.com
098
www.arc-magazine.com
workspace lighting
The Light of Colours Designed by Paul Bauer and Oskar Melzer, the Ziegert Knight Frank real estate offices in Frankfurt are a statement of contemporary design and functional clarity, illuminated by Erco’s Spot-On series.
T
he new Ziegert Knight Frank office spaces in
The ambience in the rear of the space, however, is more
by the company as it also doubles up as a
The built-in cabinets and fronts of the panelled walls are a
Frankfurt, Germany – called Shop for short
showroom – has recently undergone a dramatic
renovation. Led by design duo Paul Bauer and Oskar
Melzer, the space has been transformed from what was
previously described as a “complete dump” into a bright, contemporary and colourful space.
“Our idea was to spatially separate the 70sqm area and
divide it into two entirely separate atmospheric zones,” explained Melzer.
The precise interplay of light and colour creates a
functionally coherent and aesthetically attractive space
throughout. This interplay is enhanced by fixtures from
Erco’s Spot-On series. “Good lighting was decisive for us
because the perception of colours depends on it,” explained Bauer.
The front area and entrance zone, with its open, laid-back atmosphere, is determined by the warm, reddish orange of the seating. The entrance is uniformly illuminated by
12 Erco Pollux spotlights, as if in a gallery, and a relaxed,
lounge-like island of light is created around the sofas. While the track remains unobtrusively discreet in the tone of the ceiling colour, the black housings of the Pollux spotlights set specific accents.
100
www.arc-magazine.com
subdued, creating what Melzer describes as a “visual calm”. striking turquoise in colour, complementary to the reddish orange of the entrance.
When it came to the lighting, a high level of flexibility was important to the two designers. Three plain black desks arranged in a row are individually illuminated by Skim
downlights for track. These lighting tools combine the
flexibility of spotlights with the visual comfort, efficiency and simplicity of downlights, providing the ideal lighting solution for flexible office layouts. Two further Skim
track downlights with wide flood distribution above the
conference table add to the pleasant working atmosphere. Bauer and Melzer justified the decision in favour of Erco because of its high quality luminaires and reliably good
support, while the pair believe that the new lighting adds to the impressive interior design of the space. “Zeigert Knight Frank clients should ultimately think: they also know
something about interior design here,” said Melzer of the new-look offices.
With its precise implementation, the design of the new real estate shop does not express the anonymous form of office aesthetics, but rather an almost homely sense of poetry. www.erco.com
WE BRING YOU THE SUN
LIKE
The only TRUE solution for Circadian Lighting
No UV No Blue Peak - M-EDI like D65 Best Colors at any CCT Following the Sun spectrum
Big Blue Peak Very Low M-EDI (490nm) Low color rendering No natural spectrum
info.europe@seoulsemicon.com www.seoulsemicon.com
2020 IALD Award of Excellence – Kistefos, The Twist | Jevnaker, Norway | Light Bureau | Photography © Tomasz Majewski
iald awards
And The Winner Is... For the first time ever, the IALD International Lighting Design Awards were hosted online this year, with viewers from around the world tuning into a live presentation. The 37th edition of the awards, sponsored by Cooper Lighting Solutions, saw 21 projects from eight countries honoured. Of these, 12 won Awards of Merit, while seven won Awards of Excellence. The highest honour, the Radiance Award, went to Arup UK for the lighting design of the University of Sheffield Conourse in Sheffield, UK.
RADIANCE AWARD
Project: The University of Sheffield Concourse, Sheffield, UK Lighting Design: Arup, UK For the University of Sheffield Concourse, the team at Arup UK
strong, saturated colours may affect the occupants’ experience.
colour, positively changing the experience for its audience.
said one judge of the project.
transformed a space in its most basic form by bringing light and This brutalist concrete viaduct has been transformed into a colourful gathering space for students, thanks to its new, innovative lighting scheme. The Concourse at the University fo Sheffield is at the
heart of campus life. However, throughout the years, it has become a transient, “non-space” used for cycle parking, offering little enhancement to university life.
The brief for Arup UK was to create a space that encourages students to linger, facilitates external events, and celebrates the 1960s
architecture. The simple elegant lines of the concrete structure
demanded an uncomplicated lighting approach, treating each face as an individual element.
Colour was carefully selected to contrast surfaces and complement materials, while soft, direct white light is added at times when
“This is a beautiful example of colour and light as place-making,” Much of the success of the project has been in the detailing of the
complex interfaces not visible to the casual observer, delivering clean lines of light that characterise the space.
“It’s a fantastic honour to receive this global award as a recognition for our hard work on a project that is so close to my own heart.
In the strange times that we are living through, it’s an absolute honour, surprise, and surreal experience to be stood inside the
University of Sheffield Concourse to accept this accolade,” said Dan Lister, Associate of Lighting at Arup, UK, during the IALD Awards presentation.
“It’s a true testament to the whole design team, not just the lighting designers, and the positive impact that having a client who believes in your concept, can really have on a project.”
www.arc-magazine.com
103
AWARD OF EXCELLENCE
Project: The Keller Center - University of Chicago Harris School of Public Policy, Chicago, IL, USA Lighting Design: AKLD Lighting Design, USA The University of Chicago Harris School of Public Policy’s new home at the Keller Center transforms Edward Durrell Stone’s 1962 architecture into a 21st century showcase for policy studies. The four-level, light-filled forum is the dynamic heart of the school, where students, faculty and alumni gather to pursue the school’s social equity and justice missions. The main challenge for AKLD Lighting Design was how to create an electric lighting strategy that would balance with the abundance of natural light in the building, mitigate excessive brightness, contrast and glare, and avoid hard shadows. To achieve this, the designers opted for a suite of dimmable, linear, flush-lensed, 3000-3500K LED fixtures that provide a sophisticated, yet subtle light, and an even wash of vertical illumination over long runs. The design creates collaborative learning environments, and provides a unifying threat, balancing the project’s energy efficiency initiatives with modern-day placemaking.
AWARD OF EXCELLENCE
Project: Kistefos - The Twist, Jevnaker, Norway Lighting Design: Light Bureau, Norway Spanning across the Randselva River, The Twist, is a new art bridge that curves through the scenic landscape as a natural extension of the existing sculpture park at the Kistefos Museum in Jevnaker, Norway. The lighting designers from Light Bureau developed a concept for The Twist entitled “the art, the spectator, the space.” The building, designed by Bjarke Ingels Group (BIG), both acts as a piece of artwork in itself, and is designed to exhibit art inside its spacious and bright gallery. As daylight enters through the curved panoramic windows, electric lighting smooths out the luminance contrasts in the space, while adding an extra glow to the exhibited art. The lighting is designed to minimise reflections in the panoramic window, ensuring the best view for visitors both outside and inside The Twist. The overall lighting concept is designed to accommodate the building’s main purpose, namely, to allow visitors to experience and explore the art and the architectural space without any unnecessary disturbance, while at the same time enhancing the gallery’s magnificent sculptural shape.
AWARD OF EXCELLENCE
Project: Re-Lighting of Interior of Norwich Cathedral, Norwich, UK Lighting Design: Speirs + Major, UK The 900-year-old Norwich Cathedral is justly famous for its architecture, and remains an important seat of worship and a part of the local community in Norwich. The team from Speirs + Major created a new, sustainable interior lighting system to support the liturgy and provide flexibility for various cultural activities and tourism, while reducing the energy load. Consideration for the spiritual aspects of the building formed the foundation of the lighting designers’ approach. A background level of light facilitates everyday activities, layered with highlights that provide focus on the key liturgical elements and objects of religious and cultural significance. At each entrance and change of level, carefully managed light levels ensure easy access and improved safety for people of all abilities. The sensitive yet rigorous approach from Speirs + Major delivers a richly nuanced scheme with minimal impact on the building fabric. The clergy and local community have already fully embraced the new lighting scheme, using it daily to adapt the spaces to their needs.
104
www.arc-magazine.com
iald awards
AWARD OF EXCELLENCE
Project: Royal Opera House, London, UK Lighting Design: StudioFractal, UK Balancing light across a variety of spaces was a major element to the lighting design by StudioFractal for the Royal Opera House. The lighting strategy was to be more visible and welcoming. As such, designers created lightness and space within the newly expanded and interlinked foyer spaces, and breathed new energy into the front-of-house areas. Inside, concealed light sources provide subtle amenity lighting across the range of lobby, circulation, car and restaurant spaces, highlighting the intricate details and range of materials. By night, subtly changing lighting intensities to lower lighting levels and help to create pre-theatre, dinner and post-theatre settings of refinement and elegance. Externally, a comprehensive lighting scheme covering all six façades identifies and celebrates a vertical rhythm, drawing all façades together into a recognisable identity. “StudioFractal integrated light throughout with flair and refinement,” said Alex Beard, Chief Executive for the Royal Opera House. “Their designers diligently supported our guiding principles of excellence, theatricality and curiosity.”
AWARD OF EXCELLENCE
Project: Tennessee State Museum, Nashville, TN, USA Lighting Design: HGA, USA The new Tennessee State Museum illuminates the rich and diverse history of the citizens of Tennessee, reflecting classically inspired architecture along Nashville’s Bicentennial Mall, while providing state-of-the-art exhibit, community and event spaces. Playing off classical round geometry, the lighting design by HGA develops a series of circular expressions that are essential to the architectural design. The lighting design uses elegant integrated architectural details, soft direct-view luminaires, and curved arrays of round luminaires within intricate ceiling compositions to complete circular expressions. The innovative application of wireless lighting controls supports various events and energy-saving goals. While the state’s lighting controls standards were originally developed for offices and industrial facility applications, the lighting design successfully incorporates this state-of-the-art technology throughout the museum. The lighting design by HGA shapes this distinctive cultural facility, illuminating a place for people to explore and enjoy.
AWARD OF EXCELLENCE
Project: Vancouver Waterfront Park Grant Street Pier and Plaza, Vancouver, WA, USA Lighting Design: Fisher Marantz Stone, USA Situated along a south-facing half-mile stretch of the Columbia River, the heart of the Vancouver Waterfront Park is a cablestay pier cantilevered 90 feet over the water. The lighting design by the team at Fisher Marantz Stone supports and enhances this project’s artistic and structural nature, and utilises three fixture times. Floodlights with precise optics illuminate the sculptural mast that evokes the site’s nautical history. Low-level lights illuminate the pedestrian boardwalk and highlight the perimeter, while wall washers, carefully aimed to keep light off the water, illuminate the bulkhead to enhance the floating effect. Designers paid careful attention to their impact on nature and surroundings. The uplighting strategy was reviewed with federal agencies, as the site falls within the flight path of the Portland International Airport, and with the Audubon Society to ensure the impact on migratory birds was limited. The Army Corps of Engineers provided calculations to illustrate negligible light on the water’s surface, so as to not disorient spawning salmon. Elegant in its simplicity, the Grant Street Pier provides a dramatic and dynamic visitor experience.
www.arc-magazine.com
105
AWARD OF MERIT
Project: 160 Spear Street, San Francisco, CA, USA Lighting Design: PritchardPeck Lighting, USA The designers from PritchardPeck Lighting developed a momentous lighting scheme for 160 Spear Street that folded into the architectural vision, masking the existing infrastructure and transforming the lobby into a modern, sculptural experience that feels more like an art installation than a corporate lobby. A full-scale foam core mock-up revealed challenges in achieving continuous illumination to the points where multiple vertices intersect. Working with the contractor, a method of installing long fixtures using Velcro to slide the fixtures into place and allow access 10ft from the ends was developed. Light at the wood alcoves was intentionally omitted to create negative space. At reception, trimless downlights were detailed into the custom wood ceiling panels to provide a warm task light.
AWARD OF MERIT
Project: Free Library of Phliadelphia, Philadelphia, PA, USA Lighting Design: Lam Partners, USA Once a cramped and dark six-storey space, the Parkway Central Library of the Free Libary of Philadelphia is now bright and welcoming, thanks to lighting design by Lam Partners. The renovation of four floors in this 90-year-old building aimed to restore its original grandeur, while creating new public spaces for the 21st century library-goer. The architect’s vision of a “trellis” ceiling is executed with custom fixtures integrated into the ceiling beam spaces. The effect is a grand gesture of pattern, spanning from the great reading room to meeting rooms and throughout all floors of this historic library. The newly designed spaces meld into the historic layout seamlessly, providing a new identity to this celebrated library.
AWARD OF MERIT
Project: Green Jadeite, Kaohsiung City, Taiwan Lighting Design: Art Light Design Consultants, Taiwan For Green Jadeite, lighting designers from Art Light Design Consultants were tasked with concealing lighting so as not to impede drivers’ vision at night, while also not affecting the wellbeing of the building’s occupants. For the façade’s two alternating linear configurations, designers used two types of strip lighting with different distribution curves. The light of the longer strips diffuses and reflects off their light troughs, while shorter strips cast light on the pale green coated glass, displaying two different colours. Along the right side, LED projection lamps highlight parts of the building outline and increase the visual balance of the illumination. On top, very narrow LED projection lamps extend outward from the metal latticework overhang, increasing the visibility of the illuminated surfaces.
AWARD OF MERIT
Project: H&M Flagship Store Façade Lighting, Oslo, Norway Lighting Design: Zenisk, Norway The challenge for Zenisk in illuminating the cultural heritage landmark façade of the H&M flagship store in Oslo, Norway, was to highlight the architecture without putting focus on the lighting itself. The lighting had to be precise and well-adjusted, in order to prevent glare or light pollution. Balanced contrasts bring out the three-dimesionality of the façade. All fixtures have precise optic, custom shielding, and are dimmable, which gives the option to fine-tune light levels, reduce energy consumption and limit light pollution. During winter, the façade increases visibility and improves orientation and safety, while reducing the need for traditional street lighting.
106
www.arc-magazine.com
iald awards
AWARD OF MERIT
Project: International Presbyterian Church, Ealing, UK Lighting Design: 18 Degrees, UK When the International Presbyterian Church was extended, 18 Degrees was tasked with creating a design that enhanced the architectural form of the new building, with a focus on the liturgical nature of the space. Throughout, lighting is delicately integrated into the architectural fabric, featuring only where required so the light fulfils both form and function. The main worship space comprises a complex folded roof structure that sits over a large open area. Soft uplighting around the perimeter accentuates the ceiling, and downlighting can be adjusted to highlight the preacher and congregation, or increased to light the space when it is used for activities such as crafts or community events, making the lighting design multifunctional.
AWARD OF MERIT
Project: La Vie Wine & Spirits Merchant, Taipei, Taiwan Lighting Design: J.Y. Lighting Design, Taiwan The lighting design of La Vie Wine and Spirits creates a perfect incorporation of old and new, where lighting narrates nostalgia and technology brings new convenience. Rolls of dim lights on the wall guide guests in, generating a mysterious atmosphere. Glimmering dim light highlights the mottled paint on the wall, the old red brick arch and the coarse texture of the floor, creating the atmosphere of a medieval wine cellar. The strong contrast between light and dark draws out the elegant, tactile quality of the space - from the entrance, along the walkway and into the bar and VIP tasting areas - presenting a theatrical effect.
Using a smart device and app, the manager can adjust the lighting of any area. Lighting in the wine cabinet only switches on with the app, preventing long-term light exposure and maintaining their qualities.
AWARD OF MERIT
Project: Microsoft Buildings 121 & 122, Redmond, WA, USA Lighting Design: Dark Light Design, USA Lighting design by Dark Light Design helps to convey a sense of place, in line with Microsoft’s design philosophy of welcoming atmospheres rooted in their local environments, and complements the unique personalities of each building, using techniques layered for visual variety throughout. With a total design and construction schedule of one year, nimble team collaboration ensured that the guiding concepts remained intact as design and construction progressed. Aligning with Microsoft’s high value on sustainability, lighting power consumption is 20% lower than Washington’s energy allowance, and daylight responsive controls are employed throughout. Tasked to create a workplace that supports innovation and redefines today’s office, the design is enhanced by lighting that elevates the experience for employees and visitors alike.
AWARD OF MERIT
Project: Nihombashi Mitsukoshi, Tokyo, Japan Lighting Design: Lighting Planners Associates, Japan The renovation of Nihombashi Mitsukoshi preserves the historical building, with Lighting Planners Associates’ lighting design following the architectural concept of a “white and shiny forest”. The “tree canopy” design extends throughout the first floor, creating a beautiful gradation of light and brightness. Fixtures were mounted one by one behind trapezoid-shaped leaves made of aluminium paneling to form the canopy. A number of mock-up tests were held to verify the intended soft glow of light from in-between the canopy leaves. Relying only on the geometric pattern of the canopy, downlights for ambient light were mounted in places that aren’t easily visible. The symbolic space is wrapped in light, creating an uplifting feeling for visitors.
www.arc-magazine.com
107
iald awards
AWARD OF MERIT
Project: RH New York, New York, NY, USA Lighting Design: Sean O’Connor Lighting, USA RH New York presented Sean O’Connor Lighting with an opportunity to redefine retail lighting for more than 90,000sqft of space, including a five-level atrium, multiple terraces, a café and a rooftop restaurant. The exterior façade is comprised of the historic building and a contrasting glass and steel addition, which are unified in the evening light. As guests enter, they are presented with a sequence of spaces layered with dramatic lighting, culminating with the glowing rooftop terrace, where uplights highlight structural elements. Interior spaces feature moody rooms, which create a sense of home within an otherwise massive space, while decorative lighting features in the retail space. The lighting design creates a cohesive composition throughout, where guests are compelled to shop, relax and dine.
AWARD OF MERIT
Project: Shanghai Waterfront - 25 Landmarks, Shanghai, China Lighting Design: Fisher Marantz Stone, USA (in collaboration with seven lighting design firms) For the 25 landmarks of the Shanghai Waterfront, eight lighting design firms reimagined a city of the future, where architecture is celebrated for the people. Across the buildings, colour temperature varies from 2,000 to 3,500K, to complement the different stone types. As such, the façades are “bright enough” without being overpowering to pedestrians. Most of the illumination is achieved by concealed near field spot and linear LED fittings, while narrow and medium angle floodlighting was used for blending. With coordination among consultants, incorporating feedback, mockups, developing technology with manufacturers, and supervision of contractors, the entire project was designed and executed in just eight months.
AWARD OF MERIT
Project: Singapore Buddhist Lodge, Singapore Lighting Design: Light Collab, Singapore The team from Light Collab introduced new lighting to the main prayer hall of the Singapore Buddhist Lodge, one of the oldest charities in Singapore. Challenges included lighting the architectural and religious elements in layers, avoiding harsh shadows and concealing fixtures carefully to reduce glare. Fully dimmable indirect lighting along the different tiers of the 15-metre ceiling creates a focal glow on the main Buddhist statue, and is used to achieve desired illuminance levels when devotees are praying. The LED drivers for all of the lighting have been carefully placed and heights that are easy to maintain by the client. Lighting detailed into the ceiling pattern provides general illumination and side walls with paintings and sculptures are illuminated with linear lighting concealed behind screens.
AWARD OF MERIT
Project: Zurich Innovation Centre Givaudan, Kemptthal, Switzerland Lighting Design: Lightsphere, Switzerland Lightsphere followed the philosophy of “engage your senses” in its lighting design for the Zurich Innovation Centre Givaudan. Stringent lines of light
precisely embedded into the ceiling enhance the precision scientists apply
during their daily work, while organic lines of light, tracing the curved balconies and flights of stairs, lend a dynamism to the building’s atrium space, with its
12-metre ornamental plant columns. After testing the columns under adverse
conditions for nearly a year, a bespoke luminaire with a biophilic approach was designed, providing the right light spectrum for the plants to thrive.
As the atrium is a multifunctional space, all luminaires are equipped with tunable white light, simulating daylight and providing scenarios for exhibitions and festive events.
108
www.arc-magazine.com
Individual LED solutions – for interior and exterior matching the architecture above: LED-LINARGO – baffle luminaire for acoustic suspensions Acoustic presented in the best possible light.
®
by TTC Timmler Technology
T +49 2255 921 200 E info@ado-lights.com www.ado-lights.com www.led-luc.com www.ttc-technology.eu
TTC-ADO_AZ_mondo_2007_RZ.indd 1
31.07.20 19:09
International Lighting Design Family Tree 2020 A total of 892 people added themselves to the
40%
47.4%
52.5%
UNDER
40
30%
UNDER
50
UNDER
892 423 468 1
and represented 76 different nations
20%
respondants female male androgynous
30
10%
UNDER
60
60
159
15 45
TR BR
7
16
AU
MX
19
IS
IT
DE
CA SG
8
GB
CH
18 14
US
19
ROW
26
SE
70
79
AE
31
19
29
IN
DK
19
FR
NL ES
11
22
9
18
ARCHITECTURE
33 Lorena Elena Castellanos Gutiérrez
DAVID
ENGINEERING
30 Lisbeth Skindbjerg Kristensen
9
PAUL
LONGEST
27 Fernando Barrachina Vázquez
Ton Kek
REBECCA 4
6
PRODUCT DESIGN
8 Yves Bral
6 Ting Ji
Wei Lin 6
STEPHANIE
THEATRE LIGHTING
LIGHTING DESIGN
ARCHITECTURAL ENGINEERING
Alex Lang 8 SHORTEST
people have had 1 people have had 2 people have had 3 people have had 4 people have had 5 people have had 6 people have had 7 people have had 8 people have had 9 people have had 10
INTERIOR DESIGN
27 Karolina Zielinska-Dabkowska
6
892 571 377 219 109 52 22 11 7 4
OVER
workplace workplaces workplaces workplaces workplaces workplaces workplaces workplaces workplaces workplaces
(36%) (22%) (18%) (12%) (6%) (3%) (1%) (0.4%) (0.3%) (0.4%)
EVERYTHING ELSE (Advertising, History, Photograhy & the School of Hard Knocks)
ART
LIGHTING MANUFACTURER
A PROJECT BY 18
17
13
13
PHILIPS ARUP
SUPPORTED BY LIGHT BUREAU LICHTVISION
110
www.arc-magazine.com
ILDFT Infographic - arc.indd 1
03/08/2020 22:38
international lighting design family tree
We Are Family Originally planned to feature at Light + Building this year, Light Collective has unveiled the findings of the International Lighting Design Family Tree. Here, they fill us in on the process.
E
veryone in the lighting industry was
version this time. We decided that the new version
was cancelled. Manufacturers were
the links, backgrounds, education and career paths of
disappointed when Light + Building
of the family tree was going to be global, exploring
disappointed because they were unable to
the lighting design profession. We asked designers to
show off and share their new products. Designers were
provide their data to help us get it right, sharing with us
soak up all the new tech in one go, then get drunk at the
lighting design career. Almost 1,000 of you did!
We were disappointed as we had spent a long time
designers come from, when their career has taken them
and working out how we were going to build a physical
designer, the gender split, the age split, popular names
You may remember seeing something about it at the
many companies people have worked for.
data. Then the world changed forever and it would have
that detailed all these career paths spanning both
We filed it away as something that wasn’t going to
realisation of the data, we had to pare it down a bit.
In the last few weeks, it occurred to us that as nearly
Light + Building and created a large graphic that would
unfair to never realise it in some way.
of strands of wool, with colours picked to represent
branch of the Lighting Design Family Tree. Then in
never got to build it and all that wool is in a warehouse
include other designers in the UK to demonstrate the
the submissions and also draw a digital version of what
included 82 designers across 47 companies. In 2014, we
We believe the creation of data is important to enable
UK designers shared their roots and journey with us and
Watch out for the infographic illustrating the journey of
The ILDFT project came about because Paul Nulty
It’s coming soon…
disappointed as they weren’t able to meet colleagues,
all the companies that they have worked with in their
Irish Pub.
Analysis of the data allowed us to see which countries
planning the International Lighting Design Family Tree
overseas, what the most popular background is for a
version at Frankfurt on the Ligman stand.
for designers or companies and other facts like how
start of 2020 and you may have even submitted your
But imagine the complexity of a visualisation
slipped your mind.
companies and countries! In order to create a physical
happen and got on with the serious stuff.
We chose designers who said they would be attending
900 people shared their information with us, it was
have mapped the ancestry of those chosen in hundreds
In 2011, Light Collective scribbled out our personal
both country of origin and country of companies. As we
2014, we went on to create a bigger family tree to
in Prague, we thought we would share some facts from
entangled mesh of practices and people. In 2011, we
we had planned.
expanded to include 253 designers from 142 companies.
us to learn about our history and our community.
enabled us to create a colourful graphic.
our chosen designers.
suggested we revive it. We stood there and laughed at
www.lightingdesignfamilytree.com
him and said it would never happen. We cannot work out why or how but we did revive it and fools that we are, figured we needed to create an international
www.arc-magazine.com
111
Following the cancellation of [d]arc room in London this year, we at [d]arc media have launched [d]arc room livestream, an online, global lighting design multi-track conference and exhibition for specifiers, designers and suppliers in the lighting industry.
Held from 16-18 September, the [d]arc room livestream CONFERENCE programme, curated by Light Collective, will feature live presentations, streamed to a global audience, by leading lighting industry professionals, covering the hottest topics in architectural and decorative lighting. Headed by keynote presentations from Olympic Ceremony lighting designer Durham Marenghi, Filippo Lodi (UNStudio) and light artist Aleksandra Stratimirovic, the conference programme will feature two separate tracks of talks across three days, covering everything from project case studies, to professional research, to inspiring stories. Here you can read the full programme. For more information, visit www.darcroom.com
TOPIC KEY Inspiration
Projects
Research / Professional Practice
WEDNESDAY 16TH SEPTEMBER Keynote 09:15 Durham Marenghi (UK) Olympic Ceremony Lighting Designer
THEATRE: The Greatest Show on Earth
Track A
Track B
10:00 Dr. Emrah Baki Ulas (Steensen Varming & UTS) Once upon a time in lighting design
AUSTRALIA
10:00 Christopher ‘Kit’ Cuttle (Lighting Consultant) The difference a metric can make
10:30 Yah Li Toh (Light Collab) The journey of a lighting designpreneur
SINGAPORE
10:30 Dan Lister (Arup) Out of the darkness: finding place in ‘non-space’
UK
TAIWAN
11:00 Aticha Padungruengkit (SEAM Design) Lighting for luxury
THAILAND
11:00 Ta-Wei Lin (CMA) Daylight inspiration in practical and conceptual spaces 11:30 BREAK
NEW ZEALAND
11:30 BREAK
12:30 Paul Bishop (Bishop Design) Seek from your surroundings
UAE
12:30 Kapil Surlakar (Light@Work) Three short stories
13:00 Rikus De Kock (Illuminate Lighting Design) High-end hospitality lighting
UAE
13:00 Patricia Lopez Yanez (Architect and Lighting Designer) The leader as a beacon
UAE
13:30 Regina Santos (Godwin Austen Johnson) Hold on to your unicorn
UAE
13:30 Alla Filippovich (962Light) & Julia Zharkova (Kultura Sveta) Reading means borrowing 14:00 Sakina Dugawalla-Moeller (Light.Func) Why light?
112
www.arc-magazine.com
JORDAN / RUSSIA
UAE
14:00 Armaghan Ahmadi Venhari (Golnoor) Storytelling in cities
INDIA
IRAN
[d]arc room livestream
THURSDAY 17TH SEPTEMBER Keynote 11.00 Filippo Lodi (Netherlands) UNStudio
ARCHITECTURE: Sensorial Experience Design
Track A
Track B
12:00 Kaoru Mende (LPA) The light seminar: lighting educational methods 12:30 Carla Wilkins (Lichtvision) Lighting the cultural icon
JAPAN
GERMANY
13:00 Gary Thornton (Neolight Global) Lighting masterplan for a city not yet built 13:30 Roger Narboni (Concepto) The future of our cities’ nights
UK
FRANCE
14:00 BREAK
12:00 Gabriele Chiave (Marcel Wanders Studio) A journey through the work of Marcel Wanders Studio
NETHERLANDS
12:30 Ruth Kelly Waskett (Hoare Lea) We need to talk about daylight
UK
13:00 Sonal Garg (Lighting Designer) An interpretation of intriguing phenomena in nature
SWEDEN
13:30 Asst. Prof. Dr. Karolina Zielinska-Dabkowska Applied research in lighting practice. Who? What? and Why?
POLAND
14:00 BREAK
15:00 Lisa Marchesi (mldlab) Design with light and shadows: to stage culture with lighting 15:30 Akari-Lisa Ishii (I.C.O.N.) 4-dimensional inspirations 16:00 Annukka Larsen (WSP Finland) Tackling light pollution in Helsinki
ITALY
FRANCE
FINLAND
16:30 Keith Bradshaw (Speirs + Major) Enlightenment
UK
15:00 Martina Frattura (White Pure) Where do you see the beauty?
PORTUGAL
15:30 Martina Alagna (Nulty) The art of storytelling in the digital age
UK
16:00 Ksenia Kosaya (QPRO) Efficient emotionality of lighting concepts for human wellbeing and productivity.
RUSSIA
16:30 Richard Taylor (Graphic Strategy) Aligning with disruption - how 2020 has lastingly changed the world of professional lighting solutions
UK
FRIDAY 18TH SEPTEMBER Keynote 13.15 Aleksandra Stratimirovic (Sweden) Light Artist
ART: My Lights
Track A 14:00 Virgini Nicolas (Concepto) Dark infrastructures in urban lighting: a French touch 14:30 Nathalie Rozot (Phoscope) Photly, by Phoscope 15:00 Claudia Paz (Claudia Paz Lighting Studio) Creating experiences
Track B FRANCE
USA
PERU
18:00 Victor Palacio (Ideas en Luz) A couple of questions about lighting design
14:30 Barbara Horton (HLB) Succession planning: why it’s important to start now
USA
MEXICO
15:30 BREAK USA
17:00 Sophya Acosta (Sophya Acosta Lighting Design) ARGENTINA Collective design work: collaborativity and horizontality. How the pandemic allowed us to change our work dynamics 17:30 Brett Andersen (Focus Lighting) Looking for the light (even during a global pandemic)
GREECE / CANADA
15:00 Paola Jose (SOMBRA) The resilience of light
15:30 BREAK 16:30 Emad Hasan (The Lighting Practice) Designing a successful career
14:00 Katia Kolovea (Archifos) & Deniz Ural (Humanistic) Light and the art of being present
USA
MEXICO
16:30 Monica Luz Lobo/Daniele Valle/Diana Joels/ Flavio Berman (LDStudio) The power of light 17:00 Francesca Bastianini/Alexandra Pappas-Kalber (Sighte Studio) Policing with light 17:30 Antonia Peón-Veiga (Light Architect) Drawing light
BRAZIL
USA
CHILE
18:00 Edward Bartholemew/Nelson Jenkins/Lisa Reed USA (Bartholemew Lighting/Lumen Architecture/Envision Lighting Design) The global impact of racism on the lighting industry: Volume 2
www.arc-magazine.com
113
[d]arc room livestream
SILVER
SPONSOR
SILVER
SPONSOR
A Word From Our Sponsors The [d]arc room livestream PRODUCT programme will allow manufacturers to show their latest products to an interactive audience via presentations, chat rooms and network meetings. Here we highlight some of the sponsors already on board.
SILVER
SPONSOR
Kreon Kreon aplis/down 60 is a new range of round and square-shaped recessed downlights with an aperture of 60mm. Equipped with the newest Bartenbach faceted RMJ reflector in a fixed downlight or wallwash luminaire they offer optimal efficiency and uniformity. Combined with a <UGR19 wide flood optic they are the perfect tool to bring general lighting in an office space. With the additional choice of superspot, spot, flood, wide flood and wall washer, it provides a truly versatile lighting tool. www.kreon.com
114
www.arc-magazine.com
formalighting Introducing an innovative, flexible, lighting system. Designed for sustainability, formalighting’s 48V low voltage range offers an extensive selection of high performance, modular fixtures, in various mounting types, motorised and non-motorised versions. Including the LV Polaris Extended Arm track mounted spotlight with adjustable arm, available in configurations of four, eight, 12 or 16 LEDs. An ideal solution for illuminating artwork or signage, this miniaturised rectangular light body delivers excellent visual comfort due to the integrated diamond-faceted anti-glare screen. www.formalighting.com
SILVER
SPONSOR
Ligman Ligman’s new Frame bollard is a unique piece of urban landscape furniture. More than just a lighting bollard, Frame is designed to be both a comfortable exterior seat as well as a source of ambient and directional lighting. The design’s inspiration came from the shape of the letter ‘I’ in the Ligman logo. Standard options are with white LED lighting to the head and base and a version with RGBW to the base. Special finish options can be provided with two-tone powder coated variations. www.ligman.com
Feelux DIVA Free is new concept from Feelux. The innovative, slim linear LED with AC connection does not require transformers anymore, and can make long connections of up to 400W with dot-free effect. Feelux’s Diva series always guarantee luxurious lighting with high CRI and slim LED. Among the Diva series, the new NDFree is the most useful and innovative version. Also, it has a safe connecting locking system for easy and quick installation, and is the new standard for line voltage, dimming products. www.feelux.com
BRONZE SPONSOR
ETI Wires connect, but they also limit both physically and situationally. We’ve all been in the position of finding that a component could be positioned in a more convenient or more effective way but wiring just isn’t in quite the right place. With dynamic, modular platforms, ETI delivers power wirelessly where it’s needed, not just where it’s convenient. The mission of ETI is to enable your creativity and virtualise your approach to power with the ETI platform, liberating light... No batteries or wires required. www.etherdyne.net
THE NEW TOOL FOR IP68-LIGHTING ORDER NOW : YOUR HARD COPY E .D RE WWW.WIB
High grade selected V4A stainless steel 316Ti
WHAT WOULD WATER BE WITHOUT LIGHT?
IP68 - Permanent function and tightness under water
FOR US UNIMAGINABLE!
Pioneering LED and lighting technology
With the CENTUM°° series your water will shine constantly at the highest level. More at www.wibre.de
100% quality management and innovative construction
100% MA D E I N GERMANY
Developing and manufacturing in Germany
0 40 18 men Lu 00 46 men Lu
00 23 men Lu 5 67 men Lu
MADE IN GERMANY. SINCE 1919 | WWW.WIBRE.DE WIBRE Elektrogeräte GmbH & Co. KG · Leingarten/Germany · +49(0)7131 9053-0 · info@wibre.de
Anzeige_236x333.indd 1
PIONEERS IN IP68-LIGHTING U N D E R WAT E R L I G H T I N G | E X T E R I O R L I G H T I N G
31.07.20 11:34
In Sharp Focus This time around, David Morgan revisits Stanley Electric to take a look at the new LEDSFOCUS Pro, the latest ultra-narrow beam LED projector from the Japanese manufacturer.
S
tanley Electric was established in 1920 by
Takaharu Kitano to manufacture replacement automotive lamps for the small number of
cars (all imported) then on the roads in Japan. The company was initially called Kitano
Shokai but this was changed in 1930 to Stanley
Electric after the intrepid 19th-century British
journalist and explorer Sir Henry Morton Stanley. It is understood that Kitano was impressed by Stanley’s vision, courage, and pioneering spirit.
Stanley is well known for his exploration of central Africa and for
his search for the missionary and explorer, Dr David Livingstone.
Upon finding Livingstone, Stanley allegedly uttered the now-famous greeting, “Dr Livingstone, I presume?”
The company continues to prosper and now employs around 20,000
people with offices and factories worldwide, the automotive lighting
sector still being its main market. The company was early to research and develop LED light sources in the late 1970s and introduced a
number of innovative LED car stop lights in the 1980s. The first white light LEDs were introduced in the late 1990s and, this year (2020) a
US company was acquired, which makes high power UVC LEDs that
can be incorporated in anti-virus disinfection devices. Stanley has, in recent years, developed a unique gold effect LED that has been used on a variety of projects including an installation at the Eiffel Tower, designed by Motoko Ishii.
Over the past 10 years, Stanley’s luminaire division has grown and the range now includes highly technical products for industrial
high bay and wide area applications, road lighting and architectural
lighting. It is understood that the current Stanley strategy is to grow in the luminaire market by becoming the global leader in ultranarrow beam LED projectors.
The LEDSFOCUS Pro is the most recent addition to the Stanley range and is a development based on the LEDSFOCUS luminaire that I 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
116
www.arc-magazine.com
reviewed in 2014. The main differences between the two is that the LEDSFOCUS Pro has integral line voltage drivers and is available
in single module, four module and nine module sizes. The custom
optics are now much tighter, with better control of colour fringing and uniformity. This in-house development has taken around a
DAVID MORGAN
year to reach commercialisation with cross-disciplinary input from
in PMMA, which has very good UV resistance to sunlight but can be
departments.
screw fixing details between the secondary optic and the moulded
lens that was developed with input from the Stanley automotive
the lens moulding. Allowing water to run around and behind the
impressive 1.5-degree beam (FWHM) with a centre beam intensity of
a self-cleaning feature but I have some doubts about this approach. It
I have not come across another luminaire with such a high output
Behind the removable front lens assembly, the main clear
architectural features over very long distances.
screwed to the die-cast body heat sink. The bonded seal between
part lens system. The primary lens produces the ultra-narrow
IP66 rating. However, removing the bonded window is difficult,
used to control and slightly diffuse the beam. The secondary optics
design directive that promotes a circular economy approach with
precise control of the final beam angle for each area in a project.
(luminaire enclosure) for inspection, recycling and re-use.
in 1-degree steps and then two wider optics for 20-degrees and
aiming angle marking and effective locking and clamping. A solid
the lit effect to be fine-tuned at any time.
horizontal plane via the mounting screws. The range also includes a
narrowest distribution in this type seems to be 2.5-degrees (FWHM)
The optical performance of the LEDSFOCUS Pro projectors is
LED colour temperatures for all the LEDSFOCUS Pro luminaires range
LEDSFOCUS product. The mechanical design of the range also
The construction of the projector is simple with a large die-cast
One of the other strategic objectives that Stanley has set itself with
temperature when saturated. I was not able to open the luminaire to
feeling is that some further work is required in this area. It is a clever
are operating at a low temperature to give an extended working life
modification. The overall branding and perceived quality could be
The overall product configuration reminds me of a few other exterior
This LEDSFOCUS Pro is an impressive example of optical engineering
to run inside the enclosure with drain holes and slots for the water
ultra-narrow exterior projectors are needed.
Stanley members of staff in both the technical and commercial
brittle at low temperatures. It would appear that the rather elaborate
At the heart of this range is the custom-designed 60mm diameter
polycarbonate frame may be included to reduce thermal stress on
headlight design team. The single lens version produces a very
secondary optic onto the main window moulding could be considered
199,000 candelas from an LED output of 195 lumens running at 3.5W.
will be interesting to see how this works in practice.
and narrow beam angle, which could be used to highlight individual
polycarbonate window moulding is located, which is bonded and
Another new feature available with the LEDSFOCUS Pro is a two-
the casting and moulding will definitely make for a highly effective
distribution from the single LED emitter and a secondary flat optic is
so this design detail is not quite in the spirit of the new EU Eco-
are available in one degree steps, giving the lighting specifier very
the easy separation of light sources, drivers and containing product
From 1.5-degrees up to 10-degrees the secondary lenses are made
The rest of the design is simple and robustly constructed with clear
30-degrees. The secondary optics can be changed on site, allowing
5mm thick stainless mounting U-bracket allows rotation in the
The highest output version in the range is the nine lens type and the
series of add-on hoods and louvres for enhanced glare control.
producing over 1 million centre beam candelas from 36W. Available
very impressive and a significant improvement on the original
from a warm 2200K up to 6500K, RGB plus the Stanley Gold colour.
overcomes some of the issues that I mentioned in my 2014 review.
aluminium passive heat sink that runs at a remarkably cool
this development is to upgrade the product appearance and my
confirm the PCB temperature but it seems as though that the LEDs
move to offer three sizes of luminaire and to enable on-site beam
and allowing use in high ambient conditions.
upgraded to reflect the outstanding optical performance.
luminaires I have reviewed in recent years where water is allowed
and will be a very useful part of the lighting designerâ&#x20AC;&#x2122;s tool kit where
to run out again. This construction allows the secondary optic to be
www.stanley.co.jp
easily changed on site without worrying about compromising the
IP66 rating. Interestingly, the secondary optic elements are moulded
www.arc-magazine.com
117
On The Dot: Red Dot Awards
Minimal Track Arkoslight Minimal Track is a low-voltage track system with 24 volts that put the miniaturisation of the profile, luminaires and components centre stage. Perceived as a minimalist line on the ceiling, the track system comprises a matte black aluminium profile and a flexible conductor with a rectangular cross-section. With a width of 15mm and a height of 10mm, it is discreet and easy to install. In addition, different spotlight models ensure a lighting that is tailored to individual requirements. www.arkoslight.com
Pion Delta Light With tapered lines, this spotlight system showcases an elegant appearance that blends discreetly into interiors. It is equipped with an eccentric rotation system, which allows spotlights to be rotated 355 degrees and swivelled up to 90 degrees. In addition, the system allows for different ways of installation. For example, the spotlights can be installed into the ceiling or as a surfacemounted version. Pion is available in various colour combinations. www.deltalight.com
Intono L&L Luce&Light Intono is a minimalist wall lamp that is suitable for both indoor and outdoor installation. In addition to four standard finishes, it is also available with a primer coating that allows simple wall paint to be applied onto it, which makes the tubular body blend in with the wall it is attached to. Optionally, the wall lamp can be equipped with loudspeakers. In addition, as a smart lighting solution, it can also receive voice commands for easily changing lighting scenarios or adjusting the volume level of music being played from it. www.lucelight.it
Ultima LED Linear As a minimalist lighting system, this product development blends unobtrusively into almost any architecture. The use of innovative nano-optics enabled a reduction of the luminaire size to a profile of 10 x 13mm while enhancing the lighting effects. Seven precise light distributions are available, from spotlight to wallwasher. The anti-glare louvre conceals the light source. Ultima can be used as a stand-alone unit or light track system, with ten mounting options for enhanced flexibility. www.led-linear.com
Drop Simon Drop is a configurable lighting system featuring spotlights and structural elements that can be combined as required to set architectural accents. The name is an allusion to spots of light that fall onto objects, walls or floor surfaces like water drops. The system includes a surface-mounted model, a built-in solution and a pendant system consisting of freely combinable elements. The individual spots can be aligned flexibly and allow both uniform and focused lighting. www.simonelectric.com
Plaza Si acdc Plaza Si is a high-output spotlight range with integral drivers delivering 1,200, 2,000 or 3,000lm depending on the model. The surface-mountable spotlights with IP66 protection class housings are ideal for faรงade and bridge illumination. They are equipped with a new technology that enables customised lighting modes controllable via smartphone. The spotlight range features various lenses and colour temperatures, and it is available with extensive accessories. www.acdclighting.com
118
www.arc-magazine.com
red dot awards
At the end of June, the Red Dot Awards announced the winners from this yearâ&#x20AC;&#x2122;s competition during Red Dot Design Week. Out of more than 6,500 entries, covering a broad scope of product design, we shine a spotlight on a selection of the lighting products to be recognised.
Blade R iGuzzini Featuring a circular form with a cross section of just 2cm and available in different dimensions and power ratings, the Blade R series extends the established Laser Blade XS range. Fully customisable in order to integrate perfectly into a given interior, it can be integrated with specially certified devices, including an emergency light, loudspeakers, cameras, multi-sensors and a smoke detector. Since Blade R also features a DALI Bluetooth interface with integrated beacon for smart light control and activation of smart services, this interior lighting also lives up to contemporary lifestyles. www.iguzzini.com
Supersystem Zumtobel This modular lighting system was developed to meet the high demands of architectural lighting. It offers a wide variety of lighting options from even surface lighting to accentuated lighting effects. The defining feature of the entire product family is its seamless linearity, regardless of whether Supersystem is used integrally as a single luminaire or installed on a track. In addition, it allows both horizontal and vertical installation. www.zumtobel.com
Livo XAL From recessed and surface-mounted spots, suspended luminaires and floor luminaires to insets for light tracks, the luminaire range showcases an overall harmonious language of form with rounded edges. All models allow a combination of black, white or gold coloured housings with reflector insets in black, white or gold. Different beam characteristics are available for the recessed and surface-mounted spots. An additional motion and brightness sensor enables adjusting the light intensity to match the ambient brightness. www.xal.com
Milum Ribag Milum is a multifunctional lighting system with three combinable modules, which allow a wide variety of room lighting scenarios as lightline, downlight or wallwasher. The compact construction is made possible by technically sophisticated components, including double-focus lenses and free-form reflectors that ensure efficiency and precise light control. The light output sits slightly recessed in the slim profile and delivers a glare-free light. In combination with an excellent light brilliance, it achieves a high level of lighting comfort. www.ribag.ch
Audia Lumenwerx This pendant luminaire was developed in collaboration with acoustic experts and combines a distinctive spatial effect with a sound-reducing surface structure. A patentpending technology integrated into the body reduces sound by up to 30% over traditional PET acoustic luminaires. In addition, Audia also delivers a high level of lighting comfort. The easy-to-clean pendant luminaire is available in two sizes and various colours. www.lumenwerx.com
Mick Wever & DucrĂŠ Inspired by the clear language of form of Bauhaus, these flexibly adjustable ceiling and wall lamps showcase geometric contours. Available in matte black as well as white, the slim powder-coated aluminium body of the luminaire is defined by a reduction to precisely worked edges and surfaces. Mick comes as a 330mm long version with an LED light source and as a 450mm long version featuring two light sources, with a brightness of 420 or 450lm each. www.weverducre.com
www.arc-magazine.com
119
new products
What’s New?
A look at some of the latest products and innovations from across the lighting industry to hit the market.
Arpool Series Filix The new Arpool Series takes cue from the underwater lighting workshop and CPD seminars to implement technology that exalts the effect of light in water. Improved optical solutions, efficiency and design bring forward the light as one of the key features and value adders in hospitality and public pools alike and the projector versions make sure that water features get the same treatment. www.filixlighting.com
C1-mini Series corporate friends The C1-mini series has expanded its product range with a modular zoom optic with a diameter of 16.5mm. It can be retrofitted to the existing spotlight family and can be optionally combined and supplemented with additional microstructure foils. Equipped with a glass lens, the beam angle can be freely adjusted between 6° - 33° with a variable height of approx. 21mm. The optical attachment is reduced to a minimum and also offers optimised anti-glare protection. www.corporatefriends.de
FAMA S Bright Special Lighting FAMA S steps 1 and 2, are made by extruded brass or stained steel IP-rated products, which meets the requirements of lighting design in outdoor areas. A choice of one side or double sided lighting emission offers appropriate solutions for a large number of lighting requirements. High efficiency, low maintenance costs, excellent colour rendering and efficient glare control make FAMA S the ideal solution for a wide variety of projects due to its extremely small size. A choice of lumen packages up to 230lm and flexible mounting options, make it ideally suited for open spaces and landscapes. www.bright.gr
LD155 LightGraphix The new LD155 is an IP67-rated, high powered, adjustable uplight designed for internal and external use. The product features a new light engine giving more than 900lm output, and an innovative new ball joint design. This houses the LED, optics and accessories, allowing 360° rotation and 25° tilt adjustment in any direction. Quick onsite focussing is achieved with a removable inner bezel allowing all adjustments to be done from the front with no requirement to remove the product from the mounting surface. www.lightgraphix.co.uk
2-in-1 Nichia Nichia has unveiled three complementary technologies to improve the delivery of light quality under an over-arching banner of ‘Light so Good’ – Vitasolis, Optisolis and the 2-in-1 series of LEDs. 2-in-1 tunable white is a series of single light-emitting surface (LES), mid-power 3030 LEDs. The solution enables luminaire manufacturers to improve colour tuning, shrink optics and fixture profiles, open up creative design possibilities and potentially improve operational SKU management. www.nichia.com
Manta 3F Filippi Manta marks the first time in nearly 70 years that 3F Filippi has launched a luminaire for outdoor areas. Aerodynamically shaped in die-cast aluminium for low wind resistance, Manta is available in either pole or wallmounted format. Suitable for all outdoor environments, from general lighting to work and roadway lighting, transit areas, building perimeters and parking lots, the IP66-rated Manta offers an output of 6800-22000lm at 3000K, with a CRI of >70. www.3f-filippi.com
120
www.arc-magazine.com
case study
Prime Time For major sporting events, the right lighting is integral to capture the magic not just for viewing spectators, but for TV audiences too. Siteco explains how it’s Sirius floodlight helps to set the stage for sporting events.
E
verything around a sporting event, concert, or event
Consistency Index (TLCI); solutions with TLCI values between 85 and
fullest. The right atmosphere creates emotion for the
images. Siteco’s Sirius reaches 96, currently the best value on the
of any kind, needs perfect lighting to be enjoyed to the viewer and the spirit of the entertainer or athlete, they
need the right light to perform.
The floodlights of today need to be more of a stage light; the main
purpose is to light up a venue and a pitch during matches, but also need to have the flexibility for venues of more than one activity.
With today’s solutions, it is possible to do a lot more with a lighting
system, like stage a light show, dim the lights and provide stunning visual effects.
The Olympiahalle in Munich is a venue for many major events, and following a general refurbishment, the lighting contributes to a
perfect experience both for spectators in the hall, and for television broadcasts, thanks to the installation of Siteco’s Sirius floodlights.
The world of entertainment is colourful and versatile, and every art form has their own requirements; football associations like FIFA
and UEFA have defined excellent colour rendering as a fundamental criteria for stadium lighting, as Wieland Roedel, Head of Sport & Arena Lighting at Siteco, explained. “For the 2018 World Cup in
Russia, FIFA demanded solutions with a CRI >90.” Siteco’s Sirus
floodlights are prepared for such demands, displaying colours with a CRI >95 brilliantly – in times of UHD and 8K, this provides the ideal basis for perfect TV pictures.
Another important factor to consider is the Television Lighting
122
www.arc-magazine.com
100 do not require any adaptation of camera technology for brilliant
market. The floodlight also provides flicker-free light, which means that for super-slow motion lenses, often used for sporting events, there is no pulsing of the lighting.
A technological highlight of Sirius is its integrated control functions, such as Dynamic Temperature Control CLO 2.0, a new form of
constant luminous flux. Previously, constant luminous flux tracking
has been based on fixed increase values. CLO 2.0 however, processes the real-life data on the outside temperature, dimming level and service life of the LED module. Based on this data, Sirius is self-
powered, always precisely fitting, and therefore incredibly efficient.
A particularly practical feature within the Sirius is that all parameter settings, operating and service life data of the LED light head
are stored in the driver. In the event of maintenance work being
carried out, a new LED light head communicates with the driver and automatically adjusts the power supply, meaning that manual reparameterisation is no longer necessary.
Further to this, Sirius has a DMX RDM control system that enables event lighting with programmed scenes and dynamic lighting.
Unique to Sirius, its four modules can be controlled individually,
helping to create more diverse lighting solutions, and better capture those unforgettable sporting moments. www.siteco.com
ARC-PAGE.pdf 1 13/02/2020 14:35:45
C
M
Y
CM
MY
CY
CMY
K
corporate friends®
zoom optic Ø 16.5 mm for C1-mini series
www.corporatefriends.de
Fusion Food L&L Luce&Light’s Ginko 1.0 projectors add to the intimate ambiance of the Rokuseki restaurant in Vigo, Spain.
W
hen we think about Japanese cuisine,
to have just the one was inspired by the classic
thoughts are of sushi, sashimi and
customers a more intimate ambience.
it is almost inevitable that our first
tempura, feeding into that sense of
Japanese izakaya, informal bars that offer their This atmosphere of conviviality and integration
cultural limitation that clichés create. However,
was the inspiration for the lighting project, whose
of Pontevedra in Galicia, Spain, is no typical Asian
in the restaurant. It achieves this by playing with
the Rokuseki restaurant in Vigo, in the province
restaurant: it specialises in yakiniku, a Japanese cooking technique in which you grill your own
aim was to create an intimate, relaxed ambience the contrast between the central lights and the
shadows of the surrounding areas. The light was
meat and vegetables directly at your table, rather
chosen by the Spanish design team, who were keen
microcosm of hospitality with a limited number
1.0 projectors from L&L Luce&Light in stainless
here, Spanish and Japanese, are bound together by
colour temperature. The fixtures are attached to
like a barbecue. Rokuseki is a small restaurant, a
of seats. The two very different cultures that meet
to have a particular installation made up of Ginko steel with 19-degree narrow optics and a warm
the flavours and aromas of Asian food that fill the
the numerous extractor hoods of the ventilation
The restaurant, designed by the Spanish
central counter. In this way, a controlled output is
senses.
architectural practice Modular Arquitectura, is a
distinctive, industrial-style structure with dark-
system, which runs all the way down to the
obtained that is aimed only at the dining area: the
circular pools of light created by the narrow optics
grey walls, light-wood furniture and polished-
precisely illuminate the countertop, enhancing
sit to eat are all arranged along a wooden counter,
transmittance, transparent, extra-clear glass with
steel ventilation ducts. The chairs where people above which hang extractor hoods over the
terracotta grills used by the diners to cook their meat. Every diner has their own grill on which
to prepare their food. There is a single counter down the centre of the restaurant: sharing is
fundamental to Asian cooking. The architects’ idea
124
www.arc-magazine.com
the light-wood grain. The 4mm thick, high-
vitrified serigraphy ensures the light’s chromatic
uniformity. The choice of stainless steel combined with the compact dimensions of Ginko 1.0 means
it blends in with the extractor hoods and integrates perfectly into its surroundings. www.lucelight.it
case study
Military Precision Collaborating with Casambi, CLS has brought a new light to Overloon’s Oorlogsmuseum, with the introduction of more than 350 Ruby 8 fixtures.
W
ar Belongs in the Museum – this is
to choose the Casambi Bluetooth is that it is
(War Museum) Overloon in the
makes the operating system even more powerful,”
the motto for the Oorlogsmuseum Netherlands. Throughout the
constantly expanded with new options, which
said CLS. “Software updates can be done easily,
Oorlogsmuseum, which details the history of the
and while the number of features keeps increasing,
was possible that more than 55 million people lost
intuitive.”
Second World War, visitors are able to see how it their lives in just five years, but also how people lived within occupied countries during wartime.
the basic control stays simple, accessible and
In terms of illumination, the Oorlogsmuseum
opted for CLS’ Ruby 8 series, with a 3000K, 92 CRI
The exhibits focus on both the resistance and
light source. After Dialux calculations, CLS found
also plenty of attention on the liberation too, with
could give a higher lux value than the current TL
across more than 10,000sqm, the museum is home
Thanks to the CRI of 92, objects in the museum are
persecution suffered during the war, but there is a special focus on the Battle of Overloon. Spread
that the Ruby 8, with a power absorption of 55W, lighting, with twice as much absorbed power.
to a great number of military vehicles, including a
now illuminated and highlighted in a much better
In 2019, the Oorlogsmuseum reached out to CLS to
the previous lighting system. More than 350 Ruby
massive aircraft.
supply them with a new system of illumination.
Important within this project was the transition
light, with better colour rendering than under
8 fixtures (incorporated with Casambi controls)
were installed, making it the largest installation of
to LED, saving on energy and maintenance costs,
Casambi Bluetooth control in the Netherlands. The
options, and the ability to expand the system in
now easily dim a couple of fixture groups by using a
while providing good dimming and controlling
the future. After a thorough analysis, CLS opted
for the Casambi Bluetooth operating system. With this system, it was no longer necessary to create
a new data infrastructure, or to invest in separate controlling equipment.
“In our opinion, the most important reason
new lighting system means that museum staff can tablet. At a later stage, sensors can be added to the system, and it becomes possible to create certain
calendar settings. With the creation of a gateway, CLS engineers are also able to adjust the light scenes remotely.
www.cls-led.com
www.arc-magazine.com
125
Radiant is operating normally now with most of the production team back in Highgate. We are delivering orders but lead times are longer than usual due to supply chain delays. Let us know if you need any information or samples and we will respond as quickly as possible. Stay safe.
St. Michael and All Angels, Blewbury, UK Project designers were Rachel Phillips and Linda Norris Images by Dave Thrower
www.radiantlights.co.uk
|
Euclid 40 System IP20 LED linear lighting system with high-power LEDs and elliptical beam lenses Up to 5,000 Lumens per Mtr
+44 ( 0 ) 208 348 9003
|
david@radiantlights.co.uk
|
arc ad aug-sept 2020.indd 1
All products designed by
05/08/2020 13:02:26
ADVERTISERS INDEX ADO Lights.................................. 109
formalighting................................ 41
Madrix......................................... 121
Alto................................................. 79
GAP Lighting............................... 123
Modular Lighting Instruments... 31
Bright Special Lighting............... 127
GVA Lighting................................. 91
Nichia............................................. 71
Clear Lighting.............................. 121
IALD............................................. 102
Orluna........................................... 23
Climar............................................ 17
Intra .............................................. 47
Proled............................................ 65
CLS-LED............................................8
John Cullen Lighting..................... 83
Radiant Architectural Lighting.. 126
Colors............................................ 75
Kingfisher...................................... 87
Recolight..................................... 129
corporate friends....................... 123
KKDC.............................................. 29
Seoul Semiconductor................ 101
Creation......................................... 55
LED Linear................................... 132
Siteco........................................... 6, 7
[d]arc awards.............................. 4, 5
LED LUKS..................................... 131
Targetti.......................................... 15
[d]arc room livestream...................3
LightGraphix................................. 95
Unilamp............................................9
Erco...................................................2
Lucifer Lighting............................. 11
Wibre........................................... 115
Feelux............................................ 35
Lumascape.................................... 13
Filix................................................. 27
Luminus........................................ 99
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
of e tim ge* Event DIARY t n a ct cha e r or t to c c es bje t a u ll d n. S A E: atio T O lic *N ub p
Event Diary Industry events to note for your diary in the months ahead. LEDUCATION 18-19 August New York, USA
LIGHT + BUILDING 27 September - 2 October Frankfurt, Germany
BIENNALE INTERIEUR 22-26 October Kortrijk, Belgium
www.leducation.org
www.light-building.messefrankfurt.com
www.interieur.be
CANCELLED - New dates 16-17 March 2021
CANCELLED - New dates 13-18 March 2022
CANCELLED - New dates 21-25 October 2021
LEDTEC ASIA 3-5 September Ho Chi Minh City, Vietnam
GILE 30 September - 3 October Guangzhou, China
HONG KONG INT’L LIGHTING FAIR 27-30 October Hong Kong, China
www.tedtecasia.com
www.guangzhou-international-lightingexhibition.hk.messefrankfurt.com
www.hktdc.com
INTERLIGHT MOSCOW 14-17 September Moscow, Russia
LED EXPO THAILAND 7-9 October Bangkok, Thailand
LEDFORUM.20 5-6 November São Paulo, Brazil
www.interlight-moscow.ru.messefrankfurt.com
www.ledexpothailand.com
www.ledforum.com.br
CANCELLED - New dates 13-16 September 2021
CANCELLED - New dates 19-20 August 2021
[D]ARC ROOM LIVESTREAM 16-18 September Worldwide
LIGHT SYMPOSIUM WISMAR 14-16 October Wismar, Germany
IALD ENLIGHTEN EUROPE 18-20 November Oslo, Norway
www.darcroom.com
www.lightsymposium.de
www.iald.org
POSTPONED - New dates 10-12 March 2021
CANCELLED - New dates 19-20 November 2022
LANDSCAPE 22-23 September London, UK
IALD ENLIGHTEN AMERICAS 22-24 October Palm Springs, USA
[D]ARC AWARDS 3 December London, UK
www.landscapeshow.co.uk
www.iald.org
www.darcawards.com
POSTPONED - New dates Spring 2021
128
www.arc-magazine.com
CANCELLED - New dates 21-23 October 2021
P
&
C
OM
L
M
ER
UM
IR
M
S
CI
A
LA
ES L
Y
W
ALL CO E VE LE RE D C B T
BA TT ER
S IE
S TEIOM I NS L AT CAREGUL I R EEE
IN
A
FREE
FREE LAMP RECYCLING BATTERIES & ELECTRICALS
FREE collection and recycling and FREE container for sites collecting over 1000 lamps each quarter. As a non profit organisation, Options available for smaller Recolight can offer a low cost quantities. recycling service. Giving you a complete WEEE service.
WEEE GUIDE YOU A team of WEEE experts to help with your paperwork. All consignment notes are FREE.
info@recolight.co.uk
WE COVER THE UK Recolight operate the UKâ&#x20AC;&#x2122;s largest collection network for fluorescent and LED lamps.
THE BACK PAGE BUCKET LIST
#17 Fisher Marantz Stone / Charles Stone
Curated by
“Wherever in the world you find yourself, you’re always above Lava Falls.” As taught by every Colorado River guide to every young rafter.
What: The view from Blacktail Canyon, gazing along Conquistador Isle, at mile 122 on the Colorado River in The Grand Canyon. Where: Miles from nowhere, Arizona, USA. How: On a white water rafting trip. When: In every season. At all times of the day. Understanding that completing this task will require substantial commitment. Why: I’ve rafted through the Grand Canyon, down the Colorado River in a paddle boat a dozen times, and floated awestruck through the splendidly colourful Conquistador Isle at all hours, including magical dusks and dawns from beach camps at the river’s edge. 80 kilometers and two days downriver, my visual system switches from “wide angle colour discrimination pleasure mode” to “primal terror edge detecting survival mode” for the 10 second, 12-metre vertical drop of hydraulic madness that is Lava Falls. And all I want to do afterwards is to see it and do it, all over again. Should you wish to see the stunning sight of Conquistador Isle for yourself, you can only get there in a raft, and it is devilishly difficult to escape the Canyon without passing through Lava Falls. You’re above it right now. Photo: Conquistador Aisle by Charles Stone, 2008
130
www.arc-magazine.com
www.fmsp.com
IKAR 65 | 127 mm
www.ledluks.com
mondo-236x333-OK.indd 1
31/07/2020 16:00
For more information about ULTIMA IP40 please scan the QR-Code or visit our website www.led-linear.com