arc August/September Issue 117

117 AUG/SEP 2020

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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

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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

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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...

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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

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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.

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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.

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USA | AUSTRALIA | ASIA | MIDDLE EAST | EUROPE

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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

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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.”

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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

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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

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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

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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

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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

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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

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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.

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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

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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

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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

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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

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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

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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.

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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

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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

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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

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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.

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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

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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.

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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

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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

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INTERVIEW

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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.”

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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

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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

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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

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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

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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

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“She gave me a piece of advice that encouraged

and its presence in the African design industry:

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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

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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

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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

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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

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“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

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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’

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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

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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

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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.

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DARK SOURCE

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

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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;?.

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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

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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

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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)

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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)

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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,

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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

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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)

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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.

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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)

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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

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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.

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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

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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.

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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

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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

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“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.

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“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.

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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

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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

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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.

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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.

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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

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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.

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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

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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

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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

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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

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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.

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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.

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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

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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

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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

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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

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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

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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.

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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

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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.”

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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.

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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.

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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.

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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.

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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.

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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%

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60

60

159

15 45

TR BR

7

16

AU

MX

19

IS

IT

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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

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PHILIPS ARUP

SUPPORTED BY LIGHT BUREAU LICHTVISION

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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

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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?

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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

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[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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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