mondo*arc Oct/Nov 2014 - Issue 81 by Mondiale Media

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CONTENTS

[oct/nov] Front cover pic: Jeppe Sørensen.

048 Interview Robert Such talks to Tino Kwan, founder of Hong Kong-based TKLC.

DETAILS 022 Editorial Comment A hello and a goodbye. 024 Postcard Courtesy of Factorylux and Light Collective. 026 Headlines The latest industry news. 028 Richard MacCormack Rogier van der Heide pays tribute. 030 Eye Opener Giant Cranes in Puna, Croatia, by Skira. 032 Drawing Board Our preview of proposed projects. 036 Spotlight A selection of brand new projects from around the world. 042 Briefing Mark Major discusses the inaugural Jonathan Speirs Memorial Lecture. 044 Snapshot Introducing Into Lighting, who celebrate their 35th anniversary this year. 046 Lighting Talk This issue we talk to Jonathan Mizzi, principal of UK architects Mizzi Studios. 162 Inspirations Light Collective invite Lighthouse Design to open the light vortex.

ART & DESIGN 114 iLight Marina Bay Light+heART was the theme of Asia’s only sustainable light art festival. 120 Vivid Sydney Australia’s biggest light art event. 126 L-RO / IYL2015 More on Lighting-Related Organizations, part of United Nations’ International Year of Light and Light-based Technologies 2015. 128 Dark Source Stories Kerem Asfuroglu’s dark vision of light.

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TECHNOLOGY 130 Case Studies A selection of projects featuring innovative lighting and lighting control technology. Including: a dynamic sculpture in Amsterdam (p130); the Discovery Museum in Newcastle (p132); Nayomi stores across the Middle East (p133); the Tivoli Vredenburg in Utrecht (p134); the L.A. Live district in Los Angles (p136); the Oriental Pearl TV Tower in Shanghai (p138); the Banking Hall in London (p140); illumination of the Queen’s art and a special art installation at the V&A in London (p142); and an award winning new Microsoft office in Stockholm (p143). 144 Bench Test Jonathan Morgan experiences the pseudo-sun of CoeLux’s new Skylight. 146 Geoff Archenhold Dr Archenhold discusses the latest lighting control developments. 148 Lighting Control Product A round-up of the lighting control products currently available on the market. 156 New Product The latest product launches. 160 Event Calendar Your global show and conference guide.

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[oct/nov] Pic: © Lawrence Furzey

Online Watch video highlights of this year’s Vivid Sydney light festival. www.mondoarc.com

MEDIA ARCHITECTURE 056 Media Architecture Hank Haeusler introduces this issue’s project focus: media architecture. 058 Arboreal Lightning, Roundhouse, London Architect Alex Haw’s groundbreaking interactive lighting installation created for Imogen Heap’s Reverb music and technology festival at the Roundhouse in London. 064 BCP Affinity, Lima BCP Affinity, an interactive threedimensional façade installation in Lima created by designers Claudia Paz and Nicholas Cheung, treats a bank building as a canvas for creativity. 070 L’Avenue, Shanghai Australian lighting manufacturer Illumination Physics has collaborated with Japanese architect Jun Aoki to create the stunning media façade for this Shanghai tower.

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077 Energy Tower, Roskilde A dual waste incineration and energy production plant has been given a façade scheme that celebrates the processes within.

086 The One, Hong Kong Lighting designers Firefly create differing lighting schemes for each section of this special restaurant.

080 Publicis Drugstore, Paris A new LED layer by ECA2 adds an extra element to the curved glass façade of the Publicis Drugstore on Paris’s famous Champs Elysées.

094 WGV Casino and Guardhouse, Stuttgart Pfarre Lighting Design develops a scheme that embraces the differing styles of the WGV Casino and Guardhouse, a gift from employee to employer.

082 Casino Bregenz A new extension to Casino Bregenz features an alluring façade of colour-changing lines. 084 Rhône Archives, Lyon Les Éclaireurs bring some Greek drama to the golden façade of the Rhône Archives.

100 Commonwealth Park, Gibraltar David Atkinson Lighting Design delivers a contemporary scheme for the new Commonwealth Park on Gibraltar, blending traditional British values with mediterranean style. 108 Finch Avenue Optometry, Toronto Bortolotto blend sculptural architecture with layered lighting to produce an eye-catching, modern scheme.

I’m a museum director. I don’t display art. I stage it. The building in which I work is not a building. It’s a temple. A temple of dreams. Of fantasies. Of reality. Here, every visit becomes a journey. An unforgettable journey. Accompanied by colour, material, light. I’m a museum director. I don’t display art. I stage it. Inspiration is found wherever you look for it. Find your lighting solution at www.erco.com/inspirations

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[editorial] Paul James, editor, writes: Now that you’ve picked up your copy of mondo*arc, unless you’re active on social media, you probably won’t be aware that there are two covers available for this edition. There were so many stunning images of the Energy Tower in Roskilde, Denmark that we could have chosen at least four different covers but we didn’t want to go over the top. That’s the beauty, and the pitfall, of media architecture. It has the ability to totally transform a building, and then to keep on going again... and again... and again. I know media architecture has its critics but when created by architects and / or lighting designers who understand the process, for the right type of building (industrial monoliths seem perfect) there seems to be no better way to create the ‘Wow’ factor. These designers will be descending upon Aarhus on November 19th for the Media Architecture Biennale and we’ll be there too, with both versions of the magazine. You’re welcome to take the extra edition if you want to complete your collection. It is with great sadness that I have to say goodbye to mondo*arc’s deputy editor and the editor of darc magazine, Pete Brewis. Pete explains more below but after twelve years with the company he has decided to spread his wings and travel the world, this time for pleasure rather than attending trade shows. Good luck, Pete. It has been a pleasure. Pete Brewis, deputy editor, writes: I’ve been writing about light for twelve years now. At first it was the entertainment world. Of intense lasers, gobos, colour wheels and dichroic prisms. Magic words wrapped in moving heads; spectacular sights for crystal clear sounds. The story was energy, excitement and escape. Then came mondo*arc and the world of architectural lighting design: a much broader depth of field that seemed to encompass all kinds of big ideas. Suddenly, the story wasn’t just about looking good, it was about feeling good (rods and rhythms, colours and clarity); about being good (economics and ecology); about futurethinking and retrofitting; about art and science; about creating spaces that engage people and with which people can engage. It’s been a fun story to write - not least because of the inspirational folk I’ve had the pleasure of meeting along the way - but the road is calling, so it’s time to take a break from the keyboard. I’ll be sauntering through South America, before roaming round the Pacific Rim - if you see me in your city, be sure to say hello! Until then - sincere thanks and bye for now!

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Das gute Licht. For a welcoming reception.

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[postcard] The two paragons of cool, Factorylux and Light Collective, have teamed up to release a series of natural light in architecture cards, exclusively available through mondo*arc and its sister title darc featuring ‘decorative lighting in architecture’. Each issue, Light Collective will explain the reason for their choice and then, inserted in each edition, will be a limited edition print.

#2 Temple of Karnak, Luxor

* Missing your Factorylux limited edition card? Then contact hello@urbancottageindustries.com for a replacement.

Ok, so we may have been trying to fox you on this one and make you work harder. No instant recognition on this image. We have cropped our pick and the ink is yellow but we think there’s a clue in that… When we talk about beautifully daylit spaces, we think people tend to usually cite modern daylit design so we wanted to redress this by including a building that is extremely old. If you haven’t worked it out already, this image is a small piece of the largest ancient religious site in the world; the Temple of Karnak in Luxor, Egypt which dates from around 2000BC and is a protected World Heritage Site. The word Karnak translates as ‘the most selected of places’ and the temple is dedicated primarily to the Pharaoh Amun and began construction in his reign. It took another 1,300 years and additions from 30 more Pharaohs (including Queen Hatshepsut) until it was finally complete in the reign of King Ramses II. The complex is huge, covering around one mile by two miles in area and includes several of the finest examples of ancient Egyptian architecture. Among them are the Hypostyle Hall, the Temple of Amun and the Avenue of the Sphinxes that once stretched for two miles. The Temple of Amun is so big that at least three European cathedrals would fit within its walls. Amun became known as the deity AmunRa as he became more than a Pharoah and merged with the sun god. Having always loved the story that one of the temples was designed so that on only one day of the year, sunlight penetrated into the inner space and illuminated his gold statue, Light Collective are sticking with it and ignoring the historical and architectural debate

about whether the temple of Amun was built to align with the winter solstice or it occurs only by accident. This may or may not be architectural myth but it is without doubt that the inner spaces of the temples were designed to shield out the sunlight and to create dark, sacred space where the ancient Egyptians could house their gods. Despite it being the number two tourist destination in Egypt and overly familiar as the backdrop for many movie scenes (Death on the Nile, The Spy Who Loved Me, Tomb Raider, The Mummy Returns etc), wandering through the huge columns is a journey through light and shadow, warmth and cool and a reminder that our beautiful sun should be at the centre of architecture as it is the heart of our daily lives. Also as an added lighting bonus, if you stay on until evening you can watch the Karnak Son et Lumiere that tells the story of its dramatic history and highlights the ancient ruins. We visited the Prelogram factory (Urban Cottage Industries’ print business) this week, to watch this postcard in production and have now seen the card being printed first hand. The machinery and process used to print and number are old, not so old as Karnak but definitely from a previous era. 12,000 cards, one for each copy of mondo*arc, individually embossed and hand numbered make these cards something worth keeping and we hope that you are enjoying them. Also, if you love tungsten filament lamps and wish you could find a replacement, we also suggest you check out the Eco-Filament technology that Factorylux has referenced on the reverse of this edition: www.urbancottageindustries.com/filamentlight-bulbs/low-energy-light-bulbs www.urbancottageindustries.com/factorylux www.lightcollective.net

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news headlines Into and David Yeo win for Hutong lighting

For the latest news stories, head online: www.mondoarc.com

Philips to launch focused Lighting solutions and HealthTech companies

(UK) - Into Lighting and David Yeo win Best Lighting Scheme at the Restaurant and Bar Design Awards 2014 for Hutong Shard restaurant scheme.

(UK) - Philips will begin to transition the Lighting solutions company into a separate legal structure.

Read the full story online... 1

Read the full story online...

MEGAMAN launches International Project Division (UK) - New division, headed by Ciaran Kiely, officially launched at lightjunction in London. Read the full story online... 2

Truelux Group rebranded and relaunched (UK) - LED distributor to work in two core business divisions: Lighting and Interiors with four brands Truelux LED Distribution, Truelux Lighting Solutions, Truelux Interior Solutions, and Truelux LED Project Finance. 4

Rogier van der Heide joins Zumtobel Group

Read the full story online...

CLD merges with Iberian Lighting

(UK) - Rogier van der Heide appointed as Chief Design and Marketing Officer for the Zumtobel Group and its three brands Thorn, Tridonic and Zumtobel.

(UK) - CLD Distribution to become major shareholder in bespoke lighting manufacturer. Read the full story online...

Read the full story online...

Pasquale Quadri 1947 - 2014 (Italy) - ‘Paky’, Founder and Chairman of Clay Paky SpA, passes away. Read the full story online... 7 In pictures

the latest news online

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1 Hutong is one of three restaurants at the Shard. 2 Ciaran Kiely, head of Megaman’s new International Project Division. 3 Philips will consider various options for alternative

ownership structures for the new Lighting solutions company, with direct access to capital markets. 4 Rogier van der Heide. 5 The new group will continue to distirbute brands such as Toshiba, Soraa, ELR and Megaman. 6 L-R Iberian’s Tim Gorrange, Richard Davis, and Les Allitt with Roger Willems from CLD Distribution / Penn-Elcom. 7 Pasquale Quadri.

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[tribute] RICHARD MACCORMAC 1938 - 2014 Rogier van der Heide remembers architect Richard MacCormac who died on July 26 aged 75.

Richard MacCormack and his iconic London projects, BBC Broadcasting House and the Wellcome Wing at the Science Museum, created with Rogier van der Heide.

I can’t express how thankful I am to Richard. When we met for the first time, I ran a small lighting design practice in Amsterdam. It was 1997, and Richard was very proud that we had met each other over the internet; he told it to everybody. It made him feel just so snazzy! Richard was looking for a lighting designer for the Wellcome Wing at the Science Museum, and invited me to present myself and my work. Me, not knowing what to expect, brought slides (we did not have a video projector at that time) from the opera ‘La Fedelta Premiata’ by Joseph Haydn. I had designed the lighting as a deep blue backdrop, with the soprano in bright orange in front of it, wearing a custom-made crown with little lights. Richard loved the images of the opera, in particular the deep blue. We discovered that we share a real passion for that magic, electric blue, slightly disturbing because the human eye is so insensitive to it. That day I got to know Richard’s unique intelligence, broad cultural interest, and incredible curiosity for everything and everyone, not to mention his great ability to share and to inspire. Richard was genuinely interested in my ideas like no-one was before. We talked the rest of the day about blue and orange, about James Turrell and how we would work on the Wellcome Wing. We started a collaboration and friendship that continued until this year. In Spitalfields, the place where everyone seemed to know Richard and where he found his love Jocasta who moved in next door, I sometimes had soup with them in her kitchen; Jocasta curiously asking about life in Amsterdam, and Richard just watching her and loving her. For the Science Museum, we designed ‘The Big Blue Space’ as we called it, and Richard could always open up your mind for something new. He was passionate about developing a way to detail and execute the lighting design very precisely. We created a series of scale models to explore the interaction of light, space and a newly designed material: a fibre glass, translucent scrim, floating in front of the concrete walls, the gap being filled with light of Richard’s favourite, deep blue colour. Richard came several times to Amsterdam, to work in our lab: looking through one metre long cardboard tubes we took an ‘isolated view’ on exhibitry, slowly increasing the amount of blue light until Richard detected it and shouted “Stop”! We then measured the blue illuminance and used those numbers to further develop the louver system for the façade. Who had ever designed a building that way! I think it is his real appreciation for the sensory world and bringing that to modern architecture that characterises Richard’s work.

Throughout the project, he was incredibly productive, and Richard’s drive and inspiring collaboration meant we even created a model of part of the Wellcome Wing scaled 1:5 so we could witness the interaction of all the details we developed. We put it up in his lobby, where Richard called it “The Big Architect’s Killer” (it looked like a giant version of a blue light insect killer of the type you find at the butcher). It was his humour and self irony that could always brighten up any situation, and Richard’s charm meant that everyone wanted to collaborate with him, or be near him at least. We completed Richard’s Wellcome Wing and continued working on many projects together: an exhibition in the John Soane Museum, work for Tate Modern, for Tate Britain, advise on his projects such as the deep blue Southwark tube station with Alexander Beleschenko and, of course, in 2002 Broadcasting House, the building that allowed the BBC to consolidate in the centre of London. We designed – in Richard’s beloved deep blue – a holistic and integrated lighting scheme. It is a shame that the project did not end favourably for Richard. He got sacked because he stood strong for his principles, and moreover for his people, due to over 300 design changes and probably as many budget cuts. It characterises Richard that, this year, he phoned me up to ask to write to the BBC, and explain to them what their building lighting could have been. For Richard, that was natural, he did exactly what he did so many times before: working without compromises, and not giving up. An architect’s architect, who defended his principles and his ethics until the very end. When we presented a talk together in London or elsewhere, fifteen minutes before Richard always suggested a visit to a nearby pub to have a glass of wine… or two. As a speaker, Richard was very gifted, with natural charm and intelligence. He made an effort to always engage his audience. Even in that sense I learnt a lot from him. Oh, and he recently wrote a book, ‘two houses in Spitalfields’, about the homes of Jocasta and himself. Next to each other and filled with illusion, and so many stories… With secret doors connecting them and with the many colours that Jocasta brought to Richard’s life. And my friend is now dead. I miss Richard MacCormac dearly; I am just so thankful to him. It is by no means an exaggeration to say that my career as a lighting designer has been defined by Richard’s presence and involvement early on. It makes him one of the most special people. Thank you Richard, I am happy that for you, being in heaven, the sky is always blue.

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eye opener Lighting Giants, Pula, Croatia In addition to its plethora of historic monuments ranging from the classical antiquity to the remnants of the Austro-Hungarian Empire, the Mediterranean city of Pula is known by its shipyard Uljanik, one of the oldest working yards in the world. Uljanik, built in 1856, is again the focal point of the city: its majestic cranes are bathed in lights designed and devised by lighting designer Dean Skira. The Lighting Giants project was originally conceived in 2000 in Skiraâ&#x20AC;&#x2122;s architectural lighting design practice and last year was finally supported by the Tourist Board of Pula, shipyard Uljanik and sponsored by several private companies. Apart from this purpose-allotted incentive, the project was fully privately funded. The eight cranes are functional as well as monumental. The shipyard is active and continues to build ships, which makes this project unique in the world. The cranes were illuminated with 73 Philips RGB LED spotlights, weighing 40kg each. Each light consists of 64 pieces of LED chips that can be programmed to 16,000 different variations of colour and intensity. Blinds were used to prevent unnecessary dispersion and light pollution and to create additional diffusion effects. Pulaâ&#x20AC;&#x2122;s Lighting Giants were lit for the first time during Visualia, the festival of light in collaboration with the Tourist Board of Pula. The night walk reached its luminous finale in front of thousands of visitors at the Pula seafront, with cranes being lit dynamically to a music score. The cranes continue to shine for fifteen minutes on every hour from 9pm till midnight, giving the city of Pula a living sculpture to be proud of. www.skira.hr

Pics: Goran Sebelic

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[drawing board] The latest exciting works in progress from the world’s most imaginative designers.

DREAMSCAPE With 40 floors and a gross floor area of 150,000 square metres, the fifth hotel tower at City of Dreams in Macau (developed and owned by Melco Crown Entertainment) will house approximately 780 guestrooms, suites and sky villas as well as guest facilities including gaming, restaurants, spa and sky pool. The design by Zaha Hadid Architects combines dramatic public spaces and generous guest rooms with innovative engineering and formal cohesion. The rectangular outline of the site is extruded as a monolithic block with a series of

voids that carve through the centre of the tower, merging traditional architectural elements of roof, wall and ceiling to create a sculptural form that defines many of the hotel’s internal public spaces. The tower’s exposed exoskeleton reinforces the dynamism of the design. Expressive and powerful, this external structure optimises the interior layouts and envelops the building, further defining its formal composition and establishing relationships with the new Cotai strip. The lighting scheme by Isometrix will be seamlessly integrated with Hadid’s iconic

textural architecture. Revealing its textural façade and flowing through the entrance into the interior envelope of the dramatic entrance and lobby atrium, animation will be used to reflect the dynamism of the spaces and their complex forms. The lit effect will be a sophisticated statement piece, responsive to the materials, structures and visual impact of this iconic building. The project is expected to open in early 2017. www.zaha-hadid.com www.isometrix.co.uk

LIGHT DEFINES THE EXPERIENCE

US National Archives and Records Administration Washington, DC

At the US National Archives, designers Available Light used Lumenpulse luminaires with high CRI to improve the visitor experience and meet strict conservation requirements. Read the whole story at lumenpulse.com.

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[drawing board]

ICE MOUNTAIN Located in the centre of Chengdu’s booming Dongcun district, the extreme height of Chengdu’s newest ‘Supertall’ skyscraper presents a completely new set of lighting challenges to illuminate the 468-metre faceted, glass tower, the centrepiece of a new mixed use complex, which will be southwestern China’s tallest building and the fourth-tallest in the nation. The design for the complex by Smith+Gill Architects includes the main tower (office, luxury hotel and CEO suites), two small towers (high-end apartments) and a sixstory retail podium and conference centre with a total building area of 395,300sqm. The design of the complex was inspired by the unique ice mountain topography around Chengdu, echoed in the peaks and valleys of the tower’s faceted façade. Throughout the day, the sunlight reflects in a dynamic play of light and shadow. At night, these facets

will be enhanced with a high performance lighting scheme by Office for Visual Interaction (OVI) emphasising the tower’s crystalline structure and impressive height, establishing its unique position in the city skyline. Due to the nature of the Supertall tower’s extreme height, floodlighting is no longer a viable option for the façade lighting. Instead, OVI has carefully detailed LED luminaires concealed within architectural reveals between each facet along the height of the tower. The reveals are activated at night with a combination of both white and blue light. Employing lighting control systems, the lighting will be programmed to produce various dynamic effects that animate the ‘peaks and valleys’ of the faceted façade. www.oviinc.com

Photography: Jean Garcin

Dame à la Licorne

circa 1500

Musée de Cluny

National Museum of the Middle Ages (Musée de Cluny) Paris

SEN100 - 30° - 3800K - CRI (90) Architect: Atelier CAIRN Paul Barnoud, ACMH. Lyon Lighting Design: François Magos. Paris

www.kkdc.co.uk

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[spotlight] The latest projects with the wow factor from around the world.

Pic: James Newton

SPHERES OF INFLUENCE Having developed the Lighting Masterplan for the Olympic Park and Olympic Athlete’s Village for 2012, Speirs + Major was appointed to work on the ‘Transformation’ as part of the competition winning team led by James Corner Field Operations (JCFO) and MAKE. Speirs + Major developed the conceptual ideas for the lighting and then specified and detailed the routes, open spaces and landscape elements for the reinvented public space. Michael Grubb Studio were then asked to deliver the project by contractors SKANSKA, and worked tirelessly to ensure that Speirs + Major’s ideas were brought to life. Positioned as a new heart for East London, the park is the latest addition to London’s impressive array of open green spaces. The design from the JCFO/MAKE team has delivered a diverse and exciting public place, integrating the iconic sporting venues and attractions with parklands, waterways, and numerous play spaces for people to enjoy.

For Speirs + Major, the challenge was to provide lighting that would support the joyful character of the park design, as well as ensuring that users would feel safe and secure, and could continue to use the facilities of the park as natural light faded. They also looked to see how existing equipment from the games could potentially be re-used wherever possible. The centrepiece of the lighting approach is a unique catenary system developed for the Promenade - the main navigation route that stretches from Orbit Plaza, home to the ArcelorMittal Orbit, through to Carpenters Lock. Here, Speirs + Major proposed a dappled light from ethereal moon-like spheres suspended over the pathway, framed by gently highlighted tree canopies to each side. The interior of each sphere is painted with a colour that gradually shifts in shades from blue to green over the length of the promenade - a painterly technique used to create a sense of depth of field and lend

aerial perspective to the vista. The effect is reminiscent of light filtering through a forest canopy, and has an engaging and playful character, animating people with light and dark as they stroll along the pathway. The other elements of the park are each treated with respect to their purpose and desired character. Routes, hubs, open spaces and landscape elements have all been considered with a layered approach that takes in amenity lighting where needed for safety and sense of security, and adds highlights to landscape elements such as swing seats and abacus ladders to bring moments of playfulness and warmth and add legibility. www.speirsandmajor.com www.michaelgrubbstudio.com

Notable suppliers: Mike Stoane, Xicato, Philips, Bega, acdc, iGuzzini, SH Structures

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Pics: Guy Bell

TOIL AND TROUBLE Early in June this year, the Museum of London asked DHA Designs to provide a lighting scheme for their new gallery, built to house the London 2012 Olympic Cauldron. Working closely with Thomas Heatherwick studio and the museum and exhibition designers Drinkall Dean, DHA Designs was challenged with creating a lighting scheme to reveal the sculpture of the Cauldron and to the recall that magic moment during the opening and closing ceremonies when London was the focus of the world’s attention. Parts of the Cauldron are displayed in both their open and closed, vertical forms. Two different short films are projected on AV screens adjacent to the Cauldron, and the lighting synchronises with them. Panos Andrikopoulos, lighting designer at DHA Designs, said: “It was obvious for us: the lighting should refer to the ceremonies, enhance the sculpture and be part of the narrative of the gallery, acting as a visual link between the AV and the exhibit. We

felt that this was one of the few times that lighting was really part of the exhibit. It was essential for us to be appropriate and subtle, especially in a confined space, and to emphasise the astonishing design and engineering of the Cauldron.” As the Cauldron was originally designed to be aflame and fold choreographically, changes in colour, intensity and focus of light are now used to animate it, while uplighting in between the stems emphasises the complexity of the structure and the scale of the design, silhouetting the outer perimeter of the stems. Soraa lamps (10 degree at 2200° CTO) were used between the stems uplighting the Petals of the open section. Chauvet RGB floodlights are used for the open section (including the shelving in one scene) and ETC Source 4 Mini 12W LED projectors are used for the graphics on the wall and the display shelves. Pulsar Chromapoints are used inside the petals, synchronised with

the AV. The gallery and the lighting have been well received by the public. Elpie Psalti, Museum of London major exhibitions project manager said: “The exhibition’s key aim was to present that defining moment of the London 2012 opening ceremony when the Cauldron was revealed to the world and rose up carrying the Olympic flame. Lighting has played a crucial role: atmospheric, evocative and in sync with the AV exhibits, it brings back the magic of the event and manages to create a strong emotional response from our visitors.” www.dhadesigns.com

Notable suppliers: Soraa, Chauvet, ETC, Pulsar, Basis Lighting, Pharos

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ALL RISE

[spotlight]

A three-month long initiative by Nike followed the journey of 30 amateur kids drafted from all over Greater China via weekly real-time broadcast episodes. The show was the first social basketball reality program in Greater China hosted by China’s TV superstar ‘Blackie’ and featuring Nike athletes including Kobe Bryant, LeBron James and Yi Jianlian. To push the RISE players to their limits, they were challenged to show their skills to Kobe Bryant in a state-of-the-art basketball space in Shanghai called the House of Mamba. AKQA worked closely with Nike to design and develop the RISE experience. To produce the LED court, AKQA teamed up with Rhizomatiks from Japan and WiSpark from China. The court is made of LED screens and equipped with motion-tracking technology that allow the RISE players to follow floor commands lit up on the surface. Computers can plug directly into the court to control the screens, bringing instructional graphics, video content, live feed and player-tracking to life. Through the reactive sensors and software it was possible to track the players’ movements, their speed and velocity, change of direction, time and completed drills during the training and events. For the House of Mamba event the court ran five bespoke drills inspired by Kobe’s training and playing style, enabling the RISE players to develop and measure their skills with counsel from Nike and Kobe along the way. Each drill used reactive sensors, instructional graphics and artificial intelligence to intuitively react to a player, making each drill individual. www.nike.com/cn/zh_cn/c/basketball/rise

FORGING AHEAD Running from September 8th, ENERGETICON in Alsdorf near Aachen is showcasing new ideas about energy and new emotional ways of looking at it. For what used to be the largest coking plant in western Europe, ATELIER BRÜCKNER has designed an interactive exhibition that covers an area of around 3,000 square metres and is dedicated not only to the fossil-fuel era but also to the age of regeneration. The Forge’s heat source, which mimics the sun, features layers of resin in several different thicknesses. Individually addressable LEDs have been placed behind the shell creating a pulsating effect. Standing directly beneath the installation the visitor experiences the intensity and light of the sun. www.atelier-brueckner.com

Pic: Thomas Mayer

LS-Live Cinimod Studio

Elektra Lighting

Magic Monkey

Ingo Maurer

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[spotlight]

HAVING A BLAST A complex network of cylinders, tubes, pipes, stairs and beams rise up to the impressive height of up to 94 metres. The two disused blast furnaces are towering over ‘Place des Hauts-Fourneaux’, a plaza in Belval, Luxembourg. It is the core of a new quarter. Over the ground, five large white disks seem to hover, lighting it up. “Standing in front of the furnaces is a very moving and emotional experience. They are the ‘cathedrals’ of the new part of Esch-sur-Alzette,” said Ingo Maurer in 2008 during a test lighting. “It was a huge challenge to provide a fitting lighting concept, and of course it is also a challenge to conserve them.” On July 4, 2014 his lighting concept for Esch-Belval was inaugurated. It consists of the lighting of the blast furnaces and ‘street lights’. In 2006, he was commissioned to design the concept and decided to use mainly white light in various nuances. The widespread use of coloured illumination of landmarks did not seem appropriate. Instead, he uses distinct contrasts of bright and dark areas, inspired by movie directors

like Sergej Eisenstein. Large parts of the furnaces are left in darkness; others seem to be lit up randomly. Their shadows appear on large tubes behind. Some parts of the rusty pipes seem to glow, but only glimpses of them are visible between other dimly lit pipes. Here, he uses some orange lighting, to emphasise the rust. A searchlight is part of the installation, to be used on special occasions. For Ingo Maurer and his team, it was essential to capture the spirit of the place and to underline the role of the furnaces in the newly built surroundings. Ingo Maurer also provided consulting for the colours and varnishes used on the tubes. Many of them have been painted in a warm grey tone. To conserve the rusty tones of other pipes, a specially developed clear varnish has been used. The lighting concept offers several settings. Apart from the festive lighting, there is a slightly reduced ‘everyday’ version. A third version, for national holidays, is being planned. A second, stunning part of Ingo Maurer’s concept are the objects that will light up

the square between the furnaces and the area in front of the ‘Maison de Savoir’, a central building of the new university. They are the first ‘street lights’ designed by Ingo Maurer. The white disks have a diameter of 420cm and are kept above the ground at a slight angle by three slender, matt black poles with a length of approximately five metres. At the bottom, several curved openings of various lengths are equipped with recessed LEDs. This design provides lighting for the floor and avoids unwanted upwards scattering of light. Additional spotlights brighten up the disk themselves, which are hovering in the air like shining UFOs, creating bright pools of light below. Ingo Maurer named his design ‘GuddeVol’, (luxembourgish for ‘Have a good flight’). The circular shape and the bright white colour introduce two new and distinct elements, adding a friendly, positive and dynamic touch to the surroundings. www.ingo-maurer.com Notable suppliers: Pulsar, A&O, Martin Professional

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[briefing] MARK MAJOR We speak to the principal and fellow founder of Speirs + Major who gave the first Jonathan Speirs Memorial Lecture in Glasgow City Hall, organised by the Society of Light & Lighting. How did the Jonathan Speirs Memorial Lecture come about? I was approached by CIBSE and the Society of Light & Lighting who asked my opinion about the plans to set up a Memorial Lecture in Jonathan’s name and I thought it was a great idea. And when I heard that the plan was for it to be based in Scotland I thought it was an even better idea. And it’s great that the lighting community has recognised his work in the same way that the architectural profession has; he was honoured by the Royal Incorporation of Architects in Scotland (RIAS) with its Lifetime Achievement Award - the highest accolade within Scottish architecture. How inspirational was Jonathan? Jonathan was an enormously inspirational figure. He was a very extrovert character, with immense charisma and the most unbelievably enthusiastic person you could ever meet. When you talk about people being a glass half-full or half-empty person, his glass was constantly overflowing. He had an enthusiasm for light, architecture, for life as a whole; he was one of those guys that makes people smile, laugh, enthused. When he died, I received so many emails from all over the world, not just from his friends and contemporaries, but from young lighting designers as well, and all could remember when they met him and the conversation they had. Many remarked on how what he said had given them drive or changed their direction. It was amazing reading those emails. And what was it like working with him? We did have different temperaments and we complemented each other incredibly well. We were almost inter-reliant. Although he was based in Edinburgh and I was in London, we would exchange views daily; particularly after a big meeting, we would have a chat. And later that would manifest itself when one of us would say: “I’ve been thinking about what you said last week and...” We kept each other sane. How are things going with the Jonathan Speirs Scholarship Fund? It’s doing really well. Myself and my fellow trustees talked to Jonathan about the Fund before he died and didn’t give him a choice really. Both he and I came into lighting design from architecture. It was quite a daunting move and one or two people thought that lighting design had no future - how wrong they were! Architecture is a highly vocational discipline and it’s a long course with huge costs and a lot of hard work and graft, so it’s a big step to give all that up to take up lighting design. You have to be kind of brave or mad. I think we were a bit mad, but our enthusiasm drove us along. There’s a danger now, with student fees, that people are increasingly reluctant to take that step without some kind of support, so that was the purpose of the Fund - to offer support and encourage architects to make the transition to lighting design. We’ve had huge support from the lighting industry, as well as individuals. Alex Stewart [a Masters student from the School of Architecture at Parsons, The New School for Design, New York] was the first recipient of the £10,000 Fund and we are just at the stage now where we are raising awareness among this year’s students.

What are the long-term aims of the Fund? Simply to keep it going, keep it funded. A lot of people have signed up for ten years, so the security of the Fund is assured for the next decade, which is fantastic. And how would you like to see the Memorial Lecture develop? That would be up to CIBSE and the SLL, but I’d like to see it as a platform for two things. First and foremost, as a platform for lighting designers to talk about their passion for light, but also I hope that it’s a platform for Scottish lighting design. Jonathan was proud to be a Scot and Scotland has an interesting history in modern lighting design, with a strong lighting community. It’s great to see an annual lecture programme in Scotland because they deserve recognition for what they’ve achieved. What topics did you address in the lecture? The theme was ‘Light + Dark = Architecture’. I like that title because I think it clearly and accurately suggests that the creation and revelation of architecture is not just about light, but it’s also about darkness and somewhere in between - it’s those sorts of conversation that Jonathan and I had over many, many years. Quite often less can be more, and simpler can be better, when it comes to the world of lighting design. When you look at the most beautifully-lit projects, and the most aweinspiring buildings, often the idea behind the lighting is quite simple. I highlighted Jonathan’s early years in lighting design, both at LDP where we both worked in Edinburgh in the mid-1980s, and the early years of Speirs + Major. I used projects as well as other images - his, mine and others from the practice - to illustrate our philosophy and approach. One of the biggest challenges with the lecture was trying to distill everything down to make that philosophy as clear and simple as possible. It’s about light, darkness, change, the passage of time, the movement of light, the connection between natural and artificial light, how that changes over time, often working in harmony. In the second part of the lecture I showed some of the projects the practice has completed since Jonathan’s retirement in 2010. Things change of course; markets change, technology changes, people change and clients change, but I think Jonathan would be proud of what’s been achieved - for example, the ‘In lumine tuo’ project in Utrecht has won a Radiance Award from the IALD. I think the philosophy that we established all those years ago is still guiding us today. What was the experience like to give the inaugural lecture? I was really delighted at the turn-out. It was good to see such enthusiasm for a lighting lecture. I understand from SLL and CIBSE that they are aiming to make it an annual event. I very much hope that is the case as it will provide an interesting new forum for lighting designers to meet in Scotland – something I am sure Jonathan himself would have smiled upon. www.jssf.org.uk www.cibse.org

Comprehensive lighting knowledge is just a click away at www.sll.org.uk Anyone involved in the manufacture, sale, design or who just has an interest in lighting can join the Society of Light & Lighting (SLL) and have continuous free access to online versions of the latest Lighting Guides, Codes and research – not just to view but to download.

New editions of LG10: Daylighting and window design, LG8: Lighting for museums and art galleries and LG12: Emergency lighting design guide will be available in autumn/winter 2014. The Society is one of the world’s leading lighting organisations: with more than 2,500 members in over 30 countries and the producer of Lighting Research & Technology. For more information: • visit www.sll.org.uk • tel: 0208 675 5211, e-mail: sll@cibse.org Quoting reference code SLLLUX2014.

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[snapshot]

Introducing Into Lighting who celebrate their 35th anniversary this year.

CUCKOO CLUB, LONDON CLIENT: UNICORN CITY INTERIOR DESIGNER: BLACKSHEEP

A very unique lighting scheme was to be designed to reflect on a most exclusive private member’s club. The Cuckoo Club operates as a ground floor restaurant early evening, later spilling into a basement dancefloor. It was important that the basement did not include the obvious moving head club lighting, but an architectural lighting system that would separate the venue from the competition. The lighting utilised the available LED technology of the time to create the maximum dynamic colour changing effects available within budget. The ground floor scheme uses DMX controlled LED colour change strips with narrow optics to fill a light box ceiling which then appears to be a huge pixilated panel of individual domes, made bespoke for the space. For the basement dancefloor, into developed tiny colour change pixels within the ceiling that change with sound to light. Staff can trigger static colour changes or switch to sound-to-light strobing. The scheme was programmed extensively to enable features not previously envisaged by the client and was achieved in budget. The project became a forerunner for future club LED effects and to further similar projects for into.

IL MILIONE, HONG KONG CLIENT: SAVOURS GROUP INTERIOR DESIGNER: DESIGNLSM

IL Milione is the first Asian restaurant for Michelin-starred chef Marco Gubbiotti, and serves Italian food in a luxurious Hong Kong setting. into was appointed to the project by interior designers designLSM to design the lighting for all areas. It was their first work in Hong Kong. The project was not easy, a low ceiling and little natural light meant it was important to ensure a suitable level of ambient lighting for lunchtime diners as well as creating the environment for fine dining. A key element of the brief was to create a dramatic impression through lighting design - a ‘wow’ factor. into collaborated with designLSM on creating this for the client. The design is based around a layered lighting scheme; concealed architectural LEDs provide a base layer of warm white light, with a number of bespoke feature lights designed by into suspended over key surfaces. The main restaurant space however provides the most theatre - bespoke illuminated domeshaped spinnings cover the entire ceiling and house concealed LED light sources and mirrors. This light effect gives the impression of increased ceiling height. Finally, a DMX dimming system was specified for all LED lighting to be dimmed smoothly and to a very low level in the evening. The restaurant has been awarded a Michelin Star, was a winner at the 2014 International Design and Architecture Awards in the Restaurant category and was shortlisted in the Lighting Design category at the Restaurant and Bar Design Awards in 2013.

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PIERRE MARCOLINI BOUTIQUE, PARIS CLIENT: MAISON PIERRE MARCOLINI INTERIOR DESIGNER: BETC DESIGN

Maison Pierre Marcolini has become a name synonymous with some of the finest chocolate in Europe. into was recently invited to collaborate with architects BETC Design on the chocolaterie’s fourth boutique in Paris - a petite store on rue Saint-Honoré. Particular emphasis was placed on the use of LED sources with a high Colour Rendering Index. into focused on the creation of a minimal all-white interior in which the product appeared in a light asnear-to natural light as possible, keeping in line with the client’s wishes for a crisp, white interior. Therefore the colour rendering of the LED engines used were an important factor. Both the client and architect were hosted at the into London offices for demonstrations. Keeping minimalism in mind the ceiling was kept as a blank canvas with a small amount of downlights. Instead, coffers lit with linear LED sources produce a frame to the space. Integral shelving along the walls have bespoke concealed lighting details, designed to-measure by into. Each takes into account the dimensions of the shelf and the product displayed within and eleven were designed in total. The store is a modern white boutique that speaks luxury and style to customers, and sits well on one of the most fashionable streets in Paris. into’s designs use entirely LED light sources and, in a rare-move for retail, the lighting is on a Lutron dimming system. This provides the freedom to dim lighting for evening events.

PULLMAN ST PANCRAS HOTEL, LONDON CLIENT: ACCOR HOTELS INTERIOR DESIGNER: PROOF CONSULTANCY / LRW

This was the first Pullman Hotel in the UK and Accor Hotels (the owning group) was keen to have an impressive lighting design for the venue to launch the arrival of the brand. into was tasked initially to look at the entrance reception, bar, restaurant and lounge areas and designs included quirky bespoke features and high attention to detail. The schemes for the public areas were designed to be fully dimmable and were zoned for maximum flexibility from breakfast through to evening dining. LED downlights were specified for efficiency and for ease of maintenance as the longer lamp life meant not as many replacements of fittings at such a high ceiling height. Heavy reliance on LED light boxes and integral lighting within bars, tables and reception desks builds layers of light that contrast with accent lighting and feature pendants. The client was very happy with the atmosphere achieved through meticulous programming of the lighting scene settings. into went on to design the external lighting, conference suites, ballroom, gym and executive meeting rooms through the extended development of the hotel. The project is part of a longstanding relationship between into and Accor Hotels as into remain their current lighting design consultants.

INTO LIGHTING, UK • DIRECTORS: Anthony Cutting, Robert Crow, Darren Orrow and Russell Ford • HEAD OFFICE: Bordon, Hampshire, UK • DESIGN OFFICES: London and New Delhi • ESTABLISHED: 1979 • EMPLOYEES: 25+ spread across three offices • CURRENT PROJECTS: Quaglinos, London; The Orangery restaurant, Bahrain; Pierre Marcolini stores, Paris; Kennel Club, London; Everyman Cinemas, UK wide; JR Duty Free, Australia; Hotel Washington DC; Ongoing refurbishment projects for Hilton; The Glebe Development, Chelsea, London; Rio Tinto offices, London. www.into.co.uk

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[lighting talk]

This issue we talk to Jonathan Mizzi, principal of UK architects Mizzi Studios.

COULD YOU TELL ME... ...What made you become an architect? I wanted to pursue a creative career and a BA in Architecture seemed a good starting point, but I was never set on becoming an architect. Architecture seemed too focused at a time when I wanted to explore all creative avenues. I was fascinated by Sci-Fi, so after my BA I went to USC’s School of Cinematic Arts in LA to explore my ideas through digital set design and then studied VFX at Escape Studios in London. It was an exciting and extremely creative time but I realised I wanted to ultimately create a tangible environment, so I finished my architectural studies. It was only as an intern at Jason Bruges Studio that I really started to understand the many possibilities within architecture. I saw aspects of film and media integrated with architecture in an ingenious and interactive way. This had a profound effect on me and inspired me to follow my quest to make fantasy a reality within architecture. ...How important is lighting in your designs? Where possible, I try not to create static architecture and lighting is the best, easiest and most affordable way to animate a building, make a space, communicate and become more engaging. For Samba Swirl, Camden [1], our brief was to create a space that embodied the energy of the brand, whilst avoiding the frozen yoghurt design clichés. We set out creating the carnival spirit and geometric colours of the favelas in Rio De Janeiro in an engagingly modern context by centralising the core design concept around animated linear lines of LED light that emanate from every plane of the store; walls, floors, ceilings, out and lipping up on to the front fascia. Working simultaneously as the stores main design feature, the LED also functions as a wayfinder system that pulls you in and directs you around the store taking you on a fantastical, colourful, animated, frozen yoghurt voyage. ...What excites you about light and lighting? Animated lighting and its ability to further articulate design form with a goal to create unique and immersive experiences is what we all thrive on at Mizzi Studios. Coupling this with sensory technology to make directly engaging and theatrical spaces is what excites me most. ...Why spending time thinking about and working with light is important to you? Lighting is important as it helps spaces to express themselves and

respond to the needs of the user. However, always at the forefront of my designs is that the lighting has to be relevant. For The Pheasantry [2], which is set in a wooded area of a park, we wanted people visiting the café to have a seamless transition between the natural light outside and the light inside the café. Through punching skylights into the ceiling we were able connect the building with the nature outside and allow natural light to pour in, mimicking sunlight streaming through a forest. We created a beautiful building, but through working on the light we were able to give an extra dimension to the scheme. ...About the role lighting plays in the life of a city? Lighting plays a crucial role in city safety, both in navigation and also in security and crime prevention by illuminating public spaces and creating wayfinding pathways. At the same time, lighting has the power to completely transform a city, enhancing its historical sites at night and can support the overall branding of a city. For example, our floating Light Cast [3] installation focused on creating a symbolic lighting art piece for London that was broadcast globally for IALD’s Chase the Dark event in order to unite IALD’s many local communities around the globe in one activity that emphasised the power of light in human life. ...How do you approach lighting a building through architecture? Our approach really varies depending on the client’s needs and how specialist the job is. For Samba Swirl, we completely visualised the project virtually in 3D on the computer. We produced animations for the client to understand how the store’s lighting was going to work and presented this side by side with a 2m physical sample of addressable LED tape built into a diffuser along with samples of all finishes in the store. Other times things can be a bit more hands on and experimental. We are currently developing a feature ceiling for a concept nightclub [4], which involves light diffusing through parametric voronoi perforated patterns. For this we have produced lots of laser cut samples testing the pitch, shape and size of each perforated hole to review the diffused effects behind back lit LED. ...About the best and worst illuminated places you have visited? For me light is very emotive so the worst illuminated spaces are those lit with fluorescent white light. It just makes everything feel cold, lifeless and sterile. To me, no building better utilises light in a more playful, ingenious and creative way than the Kunsthaus

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Graz does in Austria. Coined the ‘Friendly Alien‘, the building really is as Sci-Fi as you can get, it’s ‘Close Encounters of the Third Kind’... only this time the spaceship has actually landed, and the aliens are communicating and welcoming visitors in to their museum that it houses on a permanent basis. The building can be described as a perfect blend between architecture, art, media and lighting technology. ...About the importance of shadows and the balance of darkness and light in your work? It is very important, especially when we want to contrast lighting and colour to make a statement or accent and highlight a space. We spend a lot of time on the programming of our lighting designs and we always ensure they have the flexibility of being able to precisely set the levels of light through a dimmable control system. Once again every project is different. Animated colour changing light has become a signature style for our clients, Samba Swirl. Their whole store environment is vibrant with bright painted walls and reflective finishes. In this instance we did not want any dark shadows at all, so we made a conscious decision that the ambient light level was high with dramatic colour changing that slashes through the architecture. The result is a bright and fun shop, bringing a dash of Brazil to a dark grey Camden street in London. www.mizzi.co

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MINIMUM FUSS, MAXIMUM EFFECT Following a recent presentation at iGuzzini where Tino Kwan explained his lighting design principles, we caught up with him to get the lowdown on his career and his philosophy. Words by Robert Such. From an early age Hong Kong-based lighting designer Tino Kwan wanted to work for himself. At the age of 29 he reached his goal - one year earlier than he’d planned. Since then his firm, Tino Kwan Lighting Consultants, has lit buildings and interiors in twenty countries, and the total number of projects he has worked on has already passed the one thousand mark. Winner of numerous awards, including three awards for The Peninsula Tokyo hotel lighting alone, his trademark minimal lighting schemes can be seen in international deluxe hotels and casinos, office buildings, shopping malls, luxury retail outlets, private residences, resorts and urban landscapes across an area of the globe stretching east-west from Tokyo to Dubai, and north-south from Beijing to Indonesia. Driven by the governing principle of less is more, he always uses “minimum lighting equipment to achieve maximum lighting effect,” he says. “The worst illuminated places are always overly designed.” He attributes the latter to a lighting designer’s lack of confidence. Kwan’s approach to fulfilling a brief also involves spending a lot of time “getting into the head of the architect,” he says. “In order to come up with the most perfect lighting solution, I normally spend 80% of my design time studying their designs in terms of form, space, materials, details and functions,” he says. After that “the rest is easy to have my lighting design integrated with theirs.”

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DETAILS

Left The Grand Hyatt, Shanghai: “I still remember the first time I went to Pudong in Shanghai to have an interview with the client... Pudong was a piece of rural farm land which, after a few years, had turned into an international business district and the hotel atrium lighting that I designed had become a talking point in the hotel industry.” Below Tino Kwan speaking at iGuzzini HQ in Italy.

HIGHLIGHTS Projects that you would like to change: The ICC (International Commerce Centre) which is the tallest (484m) and most prestigious building in Hong Kong, designed by Kohn Pedersen Fox Associates in association with Wong & Ouyang, has been totally ruined by its façade lighting. Not only has the lighting design failed to reflect or enhance its architecture in the evening, it completely ignores the building features and turns the facades into the biggest billboards in Hong Kong by constantly flashing meaningless images and messages with LED light all night long. I would like to see this building become an iconic symbol of Hong Kong with concealed lighting illuminating the architectural features and at the same time expressing its unique tallness to achieve a timeless solution.

closed. For Kwan, it was time to start his own practice and realise that long-held goal. Since he was already living in London, he felt it was natural for him to set up his first office there. As well as working for his own clients, Kwan also took on the residential and hotel projects sub-contracted out to him by Keller. Something that the newly self-employed Kwan enjoyed was the greater chance of meeting different designers. “Because if you work in-house in a company,” he says, “you work for one design company and you don’t get to meet all the other talents all over the world.” A year later, in 1980, while on a summer holiday to see his family back in Hong Kong, he met up with Joe D’Urso, a US interior designer who was scouting for a lighting professional with whom he could work on a private club called the I Club. Now closed, the I Club was where Kwan designed not only the lighting scheme but also various fittings - pendant lights, wall lamps and spotlights - for the then new MR16 lamp. Seeing more opportunities for work in Hong Kong, he decided to leave London.

Since then, Kwan’s interest in lighting has been helped by the advances made in lighting technology. They have also helped him to become a better designer. The ability to achieve lighting effects that would not have been possible at the start of his career has resulted from the invention of new light fittings and sources. “Imagine if I was still using the power lamps and there was no other new light source, the limitations of the lighting design that will come out or the effect will always look very similar. Once this changed to halogen, the look was different. The atmosphere was different. Now we have changed to LED and again it’s different.” Well-placed to have observed other changes, Kwan has watched the lighting design profession develop over the decades. Where there were only “a handful of recognised lighting designers worldwide in the ‘70s,” he says, it has now grown into “a large community of talented lighting professionals in every city. I am so happy that lighting design has been steadily recognised by the public who realised how it can help to improve the quality of our lives.” www.tinokwan.com

Projects you admire: The Louvre in Paris designed by Claude Engle. I like the way he brought out the transparency of the pyramid and was able to balance the overall lighting in the courtyard of The Louvre. Projects you dislike: I dislike projects using LED light excessively with the totally wrong idea that LED saves energy. How can one save energy for the sake of using LED light, and over using it? Lighting Hero: I would not say any lighting designer can be a Lighting Hero. I think I vote for the light source inventors / manufacturers who constantly develop new light sources for us, which in result allow us to come up with many innovative design solutions for our projects. Notable projects: I was so happy to read in the first issue of Monocle magazine that the best hotel lighting in the world was the Tokyo Peninsula Hotel which I designed and received design awards from IESNA in North America, JALDA in Japan and APDA in Hong Kong. Most memorable project: I still remember the first time I went to Pudong in Shanghai to have an interview with the client for the Grand Hyatt Shanghai Hotel project. Pudong was a piece of rural farm land which, after a few years, had turned into an international business district and the hotel atrium lighting that I designed had become a talking point in the hotel industry. Current projects: Libosa Palace Casino Project, Macau; Studio City Casino Project, Macau; Four Seasons Hotel, Seoul; St Regis Hotel, Lijiang; Kai Tak Cruise Terminal, Hong Kong; Grand Hyatt Hotel, Xian; VietinBank, Vietnam.

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DETAILS

DESIGN MEETS BUSINESS

Be part of a unique exhibition with five curated sectors: Lighting, Kitchen + Bathroom, Furniture, DĂŠcor and DX. London ExCeL 17â&#x20AC;&#x201C;19 May 2015

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The setting is London. The time is May. The range is comprehensive. The spirit is collaborative. The Show is May Design Series.

Organised by

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MEDIA ARCHITECTURE / COMMENT

Ahead of the Media Architecture Biennale in Aarhus, Dr. Matthias Hank Haeusler, media architecture expert, explains ‘System Thinking’ as a method to combine several media façades into a digital ecology.

HUMAN INTERACTION We have moved into an era where media façades and media architecture are no longer a novel feature in our cities, but are rather more commonplace. As I have discussed in previous publications, and as further evidenced by the Media Architecture Institute (MAI) members’ research, there are now many examples of media facades projects of various scales and approaches located across the globe. Given this, I believe it is time to rethink the conceptualisation of media architecture as merely a design (architectural integration and façade element), technology (LED and lighting technology), and media content (interaction and curating) topic. While there remain significant post-cinematic opportunities for media façades and urban screens, particularly through the combination of participatory content with site context, these are often very site-specific design challenges. Alternatively, what I want to propose here are the ways media architecture projects can fit into a framework of thinking and theory that shifts the focus from object-based (media façades), towards the design of a system that generates and connects a ‘digital ecology’. The origins of this ‘digital ecology’ approach are drawn from General System Theory. More specifically this relates to its subset Systems Thinking theory, as advanced by Ludwig von Bertalanffy in the 1940s and later folded into architectural theory by notable figures such as with Christopher Alexander in the 1960s. Bertalanffy argues for the ‘whole’ of functioning systems and that the overall behaviour of the ‘whole’ is accomplished through the ‘interaction among parts’ as argued by Alexander. Alexander in his text ‘Systems Generating Systems’ asserted that, “A generating system is not a view of a single thing. It is a kit of parts; with rules about the way these parts may be combined and a system as a whole is not an object but a way of looking at an object. It focuses on some holistic properties, which can only be understood as a product of interaction amongst parts.” In the context of this article, a more detailed outline of these theories cannot be elaborated on here, yet most readers interested in media architecture are likely to be familiar with some of the key tenets, such as the concept of ‘interaction’. A key objective of many media façade projects to date has been to communicate content and generate forms of interactive engagement between the user or observer and the media façade. Here however the concept of a digital ecology extends beyond simply the user/observer-façade mode of interaction and Alexander’s theoretical concepts become a useful way here to frame this approach. Firstly, this concerns the concept of ‘generating a system’, that is, understanding the ‘design’ not as a single entity but rather as ‘a kit of parts’. Secondly, this pertains to the concept of a ‘system as a whole’, as that which is not an object, but rather, a way of looking at an object through an organisational logic. According to Alexander, any building can be understood as a building system that is a generating system with a ‘traditional’ kit of parts – columns, beams, panels, windows, doors and so on. All of these parts are assembled according to certain rules in order to

function as a system. While not traditionally considered as part of the architectural kit of parts, it is argued here that urban screens and media façades, as well as sensors, actuators and computing hardware can be more purposefully integrated within an overall building system. Turning now to the second concept, ‘a system as a whole’, Alexander further describes this as holistic phenomena, which can only be understood as a product of interaction amongst parts. Seen in this way we can begin to think of interactions between multiple buildings over the scale of a council area, a city, even a region, or perhaps globally. Public transport is a good example of a holistic phenomenon, as it only functions as a whole. The parts can be considered as the physical infrastructure, train stations or bus stops; the trains or buses, the tracks or routes the vehicle drives along, which together which form a system. Yet there has also been criticism on Alexander’s work that his thinking, as Menges and Ahlquist have previously argued, only provides a way to characterise a system, but not extensively describe the process by which a system can be generated. I would join this criticism by arguing that a system with ‘interaction amongst parts’ needs further means of feedback to control the constrained relationships to another; to enable the assembly of parts to certain constraints; and to ensure the proper interaction of these parts. This is the point in which media façades as well as sensors or actuators and computing hardware, can play a significant role in supporting an ‘interaction amongst parts’ as a part of the system and by monitoring the ‘interaction amongst parts’ to achieve a holistic phenomenon. Consequently one needs to look into what primary modes of interaction exist to develop a feedback system to control, enable and ensure the rules. Kirchner et al. has argued for four primary modes of interaction: (a) Human -> System (Human acts on the System); (b) System -> Human (System acts on/for the Human); (c) Human <- System (Human observes the System); and (d) System <Human (System observes the Human), Relatedly, I have previously argued in the article ‘Architecture = Computer’, for a need for a fifth mode of interaction – a System < - > System mode (System observes and acts on/for the other system). This is useful here because it gives a system an indication or rules of what to observe and what to act upon, the system needs to understand in the first place what kind of system it is. A system in architecture could be defined through its typology. Thus one could argue for two possible rules for interaction amongst parts (building systems) in a city system – non-typology specific rules and typology specific rules to define an interaction between systems. In detail, the first non-typology specific rules describe the interaction between for example an office building and an apartment block. The second typology specific rules describe the interaction within one typology, for example two bus stops or train stations. Whereas the first is harder to define, as the rules can be compared with communications between typologies, the second one is clearer. The first, non-typology specific rule, can be

compared with a conversation between a fanatic soccer fan (i.e. office building typology) and a chess game lover (i.e. apartment block typology) where both have very clear rules (passion) within their system (hobby), but one has to first establish and understand rules (a common discussion point) amongst both systems to achieve a holistic phenomenon (a long lasting conversation). The second, typology specific, on the other hand is like two passionate gardeners (i.e. bus stops) who have both the same interest (rules of interaction amongst parts) talking to each other about flowers and trees (timetable information and bus arrivals). In short, when a common ‘conversation’ topic is established between various buildings of the same typology (or two people) consequently an interaction between them become more possible. Thus through non-typological and topological specific rules a modus operandi for generating media content exists that does not see the media facade content as a site specific interaction, but as part of a digital ecology where parts (building systems) like screens and sensors are connected as Alexander has described it with ‘rules about the ways these parts may be combined’. One way that this approach to reframing media architecture in terms of a digital ecology has been applied is in the context of public transport design in the recent book Interchanging – Future Scenarios for Responsive Transport Infrastructure Design. Here bus stops were equipped with media façades, urban screens and sensors to enable concepts like real-time information relating to bus arrivals enabled through GPS and communicated through screens integrated within the bus stop infrastructure to facilitate more informed public transport decision-making; active surveillance through cameras on bus stops displayed on screens at other bus stops for enhanced security; or location-based information about events, transport connections and points of interest used to establish a dynamic wayfinding system; and even new revenue models for providing, maintaining and operating bus stops. Thus one can conclude that this way of thinking has the potential to be applied in other ways for the built environment and could extend media architecture to other performative realms. Hence to achieve what Alexander had potentially envisioned when he asked for new, subtler kind of building, which doesn’t merely generate buildings, but generates buildings guaranteed to function as holistic systems in the social, human sense. www.mab14.org

Dr. M. Hank Haeusler Dipl.-Ing. (FH) / PhD (SIAL/RMIT) is Senior Lecturer at the School of Architecture, Faculty of Built Environment, University of New South Wales, Australia. The Media Architecture Biennale brings together artists, industry and academia to show and discuss products, trends and challenges within the realm of media architecture. This year’s biennale is in Aarhus, Denmark, November 20-22, 2014. The pre-conference event is to be held in Copenhagen on November 19.

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MEDIA ARCHITECTURE / ARBOREAL LIGHTNING, THE ROUNDHOUSE, LONDON

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THE LIGHTNING CHIEF Architect Alex Haw has created a groundbreaking interactive lighting installation housed in the Roundhouse in London for Imogen Heap’s Reverb music and technology festival. Arboreal Lightning is a large-scale interactive lighting installation by atmos that transforms sound and gesture into an immersive, fluctuating, luminous environment - specifically designed for the Camden Roundhouse, one of the top live venues in London. Its activity is generated by both amateurs and professionals - artist performers and a wider audience - creating a performative stage beacon that activates programmed performances, and also serves as an interactive public installation outside concert times. The project was commissioned by both the Roundhouse venue and Grammy Award-winning, singer-songwriter Imogen Heap as the centrepiece for the Camden Roundhouse’s Reverb 2014 Festival of Contemporary Classical Music. The installation has grown to be the resident centrepiece for the Roundhouse’s August 2014 Summer Sessions and is set to go with Heap on her year-long world tour, which started on the last night of the Roundhouse Festival. The project mirrors the Roundhouse’s clock-like plan of 24 columns by bundling 24 strands of LED light into a giant heavy-rooted trunk that grows from the stage to arc over the colonnade and arches above. The strands soar upwards and weave through columns and rafters to follow the building’s dramatic structure, seeking hidden recesses and unexplored corners, before exploding outwards above both the performers and audience. Some branches yearn upwards,

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MEDIA ARCHITECTURE / ARBOREAL LIGHTNING, THE ROUNDHOUSE, LONDON

TALKING TO… ALEX HAW

Where did the inspiration for this project come from? Human Nature. Our tussle with being organic, yet kings of artifice. Our own vulnerable fleshy wetness, yet our fiercely intellectual cerebrum. Basically, Imogen Heap and my mutual love and admiration for so many things both human and natural. Can you describe your creative process? Think; draw; discard; redraw, redraw, redraw, redraw, redraw, redraw, redraw, redraw, redraw; present; redraw, redraw, redraw, redraw, redraw, redraw, redraw, redraw, redraw; make. What were your expectations of the project, how did you hope the audience would perceive the installation? We were worried about time, but excited by the team and moment and venue. We weren’t sure how various things would behave, not how we would even build it or hang it, nor how responsive the LED product would be at the potentially-laggy end of 100s of metres of Ethernet and XLR cable. We hoped the audience would lose their inhibitions, let down their guard and just sink into it like an old sofa, enwrapped by light; and I think they did. Did the reaction meet your expectations? Partially (I have elevated expectations). An incredible

towards the light of the lantern; a few strands bow down to reach and mingle with the audience, who can then trigger their own luminous ripples and join in the spatial symphony. This light canopy of visual music creates a unifying lattice that embraces the people beneath it within a giant, pulsating, Gaian network - umbilical cords connecting people to building, sound to light. 1,500 metres of LED string (iColor Flex MX gen2 by Philips Color Kinetics) have been

JAPANESE Arboreal LightningはロンドンのCamden Roundhouseのために特別にデザインされた、音と動作をリアルで流動的な没入型照明環境に変換するatmosによる大規模なインテラクティブ照明設備。 RoundhouseとシンガーソングライターであるImogen Heapよって、 Camden Roundhouseによる現代クラシック Reverb 2014 Festivalの目玉プ音楽の祭典、ロジェクトとして依頼された。 Roundhouseの照明設備は、時計状に並んだ 24本の柱の構造をLED光源の24の光の束に収束して表現し、ステージ奥底から放たれるその光の束は柱列の上を弧を描いて伸びてゆく。1500メートルにも及ぶLEDの光の束は建物の巨大な骨組みの輪郭に正確に沿うように伸び、同時に4800ピクセルのノード一つひとつが体の動きに合わせて光る。その光源が合

and hugely unexpected number of people were ecstatically effusive and wildly enthusiastic, while some occasional figures were (perhaps surprisingly silent). I loved getting a hug from the roundhouse’s head of music -and loved seeing him whoop up the tree -and loved the kind words I got from Imogen Heap, our commissioning muse, once we’d opened.

What was the biggest challenged faced with the project? Lack of time and money. We got news of the arts council grant at the end of June and had to be installed by mid august. With 4,800 individually woven LED nodes and 3 kilometres of lighting we didn’t know much about til then.

Do you work with light regularly? What are your thoughts to working with light? As architects, we always work with light in some way, though often in a more modest fashion and almost never as interactively. If you look through our portfolio, you’ll find a range of slightly older works that were all solidly interactive, or at least responsive. It all began with my solo exhibition at the architectural association -lighthive -where I wired up 160 rooms of the entire university with sensors that fed a large-scale model of the school, flickering in response to movement. It caused a stir and brought us into contact with art commissioners, through whom we developed several large-scale interactive or data-fed projects. We won the commission to illuminate the Cutty Sark station with lighting that responded to passenger movement, which sadly never happened. The art commissioning market seemed to crash and die just as we were starting out, so we haven’t done much since apart from a few installations using camera vision and projection. We’d dearly love to do more lighting installations, but just don’t get asked. It’s not overall more challenging; though the risks of technical failure are probably much higher, so are the rewards everyone loves a good bit of lighting, which is still as close to magic as we get in everyday life.

Did the final installation change much from the original brief/concept? What were the reasons for this? Its shape bent to accommodate the restrictions of the existing building and was forced to find new routes due to the late emergence of the fact that some parts were simply inaccessible. We trimmed the original 8km of lighting way back due to lack of budget (we had hoped to find a sponsor who’d pay for more LED). We moved away from coils of tubular enclosure towards a track-based system because of the product we’d specified. We moved away from the original plan for CNC-milling plywood substrates because of fire rating and fragility and away from milling plastic because of cost. We made all inputs sonic for simplicity, and to poetically make audience and performer equal in their weaponry.

What prep work was done to ensure the production ran smoothly? As much as poss. testing and testing. Putting as many good people onto each detail and area as possible and having backup plans!

What was the most rewarding element to the project? The gasps and tears of joyfulness. How would you categorise your own design style? Complex, meaningful sensuality. Any parting words, warnings or advice to all the individuals wanting to undertake an interactive lighting installation? Get as much time as you can. Work with brilliant people. Get everyone on board, inspired towards a common goal. Simplify wherever possible and focus your firepower.

meticulously tamed to shadow the contours of the building’s giant skeleton - yet each of the 4,800-pixel nodes glimmer individually in response to life. They coalesce to form a sinuous elastic mesh of sculptural video; a fluid, spatial cinema, worming through the building. Architainment Lighting was called upon by atmos to supply a flexible, adaptable and lightweight solution. The strands boast flexible threads of high intensity, full colour

わさるとしなやかで弾力性のある網目状の彫刻映像が形作られる。それは建造物の中の空間を流れるような映像となって動き回る。Atmos Studioにより、柔軟で適合性の高い軽量なソルーションとして選ばれたアーキテイメント照明に使用されたのは、 Philips Color KineticsのiColor Flex MX gen2であることに不思議は無い。

CHINESE “光之树”是 Atmos Studio 设计的一种大型交互式照明装置。它把声音和动作转化到身临其境、波动的光环境中--专为伦敦的卡姆登圆屋设计。受圆屋音乐馆和创作歌手 Imogen Heap 委托设计的这个项目是卡姆登圆屋“2014现代古典混响音乐节” 的核心装饰。 24组 LED 灯安置于外形巨大、基地结实

LED nodes specifically designed for extraordinary effects and expansive installations without the constraints of fixture size, shape or space. Each iColor Flex MX gen2 strand consists of 50 individually addressable LED nodes, featuring dynamic integration of power, communication and control. The flexible form factor accommodates two and three-dimensional configurations, while high light output affords superior long-distance viewing for video displays. Architain-

的柱干里，从舞台一直蔓延越过柱廊以及上面的拱门。这24根如钟般分布的灯柱，让圆屋熠熠生辉。长达 1500 米的 LED 灯绳，沿着圆屋巨大的骨架轮廓，成型精致，而 4800 个像素点个个璀璨，闪光独立成像。它们共同形成弯曲的、有弹性的网格雕塑视频;犹如一个流动的，存于空间的电影院贯穿于整座建筑。应 Atmos Studio 之要求，Architainment Lighting 提供了一种灵活的、适应性强的、轻量级的解决方案；Philips Color Kinetics 的 iColor Flex MX Gen2 便是首选。

FRANÇAIS Spécialement conçue pour la Rotonde de Camden à Londres, la foudre arboricole est une immense installation d’éclairage interactive imaginée par Atmos, qui transforme sons et gestes en un environnement immersif,

fluctuant et lumineux. Le projet et sa pièce maîtresse ont été commandés par les dirigeants de la Rotonde et la chanteuse Imogen Heap pour le Festival de musique classique contemporaine Reverb 2014. L’installation reflète le plan horloger des 24 colonnes de la Rotonde en regroupement 24 filaments de lumière D.E.L. dans un tronc géant à grandes racines poussant depuis l’estrade et formant une voute au-dessus de la colonnade et des arches. Quelque 1 500 mètres de guirlandes D.E.L. ont été méticuleusement modelés afin de délimiter les contours du squelette géant du bâtiment ; chaque nœud de 4 800 pixels brille individuellement en célébration à la vie. Ces guirlandes s’unissent pour former un filet élastique sinueux de vidéo sculpturale ; un cinéma fluide et spatial voyageant à travers le bâtiment. Architainment Lighting fut désigné par Atmos Studio afin de proposer une solution maniable, aménageable et légère ; ainsi, les produits iColor Flex MX gen2 de Philips Color Kinetics devinrent le choix par évidence.

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MEDIA ARCHITECTURE / ARBOREAL LIGHTNING, THE ROUNDHOUSE, LONDON

A perspectival plan showing the installation growing across Roundhouse structure. The project mirrors the Roundhouse’s clock-like plan of 24 columns by bundling 24 strands of LED light into a giant heavyrooted trunk that grows from the stage to arc over the colonnade and arches above.

ment supplied a total of 96 lengths with 12” spacing and an sPDS-480ca 7.5V Philips Color Kinetics power and data supply. The sPDS480ca 7.5V delivers 480 watts of output via sixteen 30-watt ports and automatically accommodates input voltages ranging from 100 VAC to 240 VAC. Arboreal Lightning unleashes the hidden power of a place - and people. It explores

DEUTSCH Arboreal Lightning ist eine umfassende interaktive Beleuchtungsanlage von atmos, die Sound und Gesten in eine immersive, veränderliche, leuchtende Umgebung umwandelt - speziell entworfen für das Camden Roundhouse in London. In Auftrag gegeben wurde das Projekt vom Roundhouse Veranstaltungszentrum und von der Sängerin-Komponistin Imogen Heap als Herzstück des Reverb 2014 Festivals für zeitgenössische klassische Musik im Camden Roundhouse. Die Anlage spiegelt die Uhr-ähnliche Gliederung mit 24 Säulen des Roundhouses durch Bündelung von 24 LED-Strängen in einem riesigen, fest verwurzelten Baumstamm wider, der von der Bühne über die darüber liegenden Kolonnaden und Bögen wächst. 1.500 Meter LED-Ketten wurden sorgfältig geformt und an die Konturen des riesigen Gebäudegerüstes angepasst - und dennoch glimmert jeder der 4.800-Pixel-Knoten individuell als Ant-

inaccessible spaces and ineffable sensations - the physical manifestation of music, and the convergence of sensations. In an age of emancipated connectivity and collaboration, it seeks to reinvent and re-imagine the relationship between performer and audience, sound and light. www.atmosstudio.com

wort auf Leben. Sie fügen sich zusammen und bilden ein gewundenes, elastisches Gewebe aus einem skulpturalen Video; ein fließendes, räumliches Kino, das sich durch das Gebäude schlängelt. Architainment Lighting wurden von Atmos Studio beauftragt, eine flexible, anpassbare und leichtgewichtige Lösung zu beschaffen; iColor Flex MX gen2 von Philips Color Kinetics war die optimale Wahl.

ITALIANO Arboreal Lightning è un’ installazione interattiva luminosa su grande scala, progettata da Atmos che trasforma il suono e il gesto in un ambiente fluttuante, luminoso e coinvolgente che è stato specificamente elaborato per il Camden Roundhouse di Londra. Il progetto è stato commissionato sia dal Roundhouse che dalla cantautrice Imogen Heap come il fulcro del festival di Musica Classica Contemporanea Camden Roundhouse’ s Reverb 2014. L’installazione rispecchia il progetto ad orologio del

PROJECT DETAILS Aboreal Lightning, The Roundhouse, Camden, London, UK Design: atmos Software Design: Adam Stark LED supplier: Architainment (Philips Color Kinetics) Control: Pharos Technology Support: John Nussey Maker Space: Makerversity Muse: Imogen Heap

Roundhouse di 24 colonne che riunisce 24 fili di luci a LED in un gigante tronco pesante che cresce dal palco e si erge verso l’ arco sopra il colonnato e gli archi sopra. Sono stati meticolosamente modellati 1.500 metri di stringhe a LED per seguire i contorni del gigantesco scheletro della costruzione attraverso l’utilizzo di nodi luccicanti da 4.800 pixel che sono individualmente già una risposta alla vita. Essi si uniscono per formare una sinuosa rete elastica video scultorea; una proiezione fluida e spaziale, che striscia attraverso l’edificio. Per l’ illuminazione architetturale è stato interpellato Atmos Studio per fornire una soluzione flessibile, adattabile e leggera; iColor Flex MX Gen2 della Philips Color Kinetics è stata la scelta più ovvia.

ESPAÑOL Arboreal Lightning es una instalación de iluminación interactiva a gran escala hecha por Atmos que transforma el sonido y la expresión en un ambiente envolvente, fluctu-

ante y luminoso - diseñada para el Camden Roundhouse en Londres. El proyecto fue encargado por el Roundhouse y por la escritora y cantante Imogen Heap como el plato fuerte para el Festival de Reverberación de Música Clásica Contemporánea 2014 del Camden Roundhouse. La instalación refleja las 24 columnas dispuestas en forma de reloj en el Roundhouse agrupando 24 cordones de luces LED que forman un arcón gigante fuertemente emplazado que crece desde el escenario hasta el arco encima de la arcada y los arcos superiores. Se le ha dado forma a 1500 metros de líneas de LED meticulosamente para que sigan el contorno de la gigante estructura del edificio - además de cada uno de nodos de 4.800 pixeles que brillan individualmente para darle vida. Estos fusionan formando una malla elástica y serpenteante de video escultural; un cine fluido y espacial que recorre el edificio. Architainment Lighting fue convocada por Atmos Studio para que suministre una solución flexible, adaptable y liviana; iColor Flex MX gen2 de Philips Color Kinetics fue la elección obvia.

MYRIAD ADJUSTABLE LIGHT – WHERE YOU NEED IT Concord’s new Myriad Adjustable LED downlight brings added architectural appeal to a highly successful family of luminaires for high-end retail, hotel, restaurant and residential applications. Myriad’s low-maintenance 50,000 hour LED technology gives it a remarkably small form factor. Round or square, Myriad’s clean lines help create crisp interiors, with full 360° rotation, a tilt of 25° and a beam angle of 24° – a versatile range of accessories complements any interior. Its efficient 15W LED has a CRI of 85 in colour temperatures from 2700K, 3000K and 4000K.

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26/09/2014 14:49:01

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MEDIA ARCHITECTURE / BCP AFFINITY, LIMA, PERU

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TO AFFINITY AND BEYOND BCP Affinity, an interactive three-dimensional façade installation in Lima created by designers Claudia Paz and Nicholas Cheung, treats a bank building as a canvas for creativity.

The BCP (Banco de Crédito) building in San Isidro is a building of its time. Bank façades have traditionally been conservative architectural icons that project serious messages of establishment. The original 1970’s architecture was a brutalist design, reflecting the strength and stature of Peru’s oldest banking institution. In the 1990’s, it evolved into a concrete fortress due to the terrorist activity blighting the country. The latest 2014 incarnation reflects a modern and progressive Peruvian society. The original concept was to design the façade’s lighting to enrich the architecture. The Architect, Felipe Ferrer, had a unique concept for the architectural design that reflected the client’s new branding message of openness and transparency. Working with this architectural concept lighting designers for the project, Claudia Paz and Nicholas Cheung, suggested an ambitious approach that provided a deeper significance to the city; offering a meaningful connection between the bank and the people. The proposal was to create an iconic public artwork installation with an interactive façade to directly engage the general public, suggesting new ways of seeing, feeling and experiencing one’s own perception of one’s self. The vision was to give people the opportunity to feel free and explore new sensations, creating a permanent installation on an urban scale instead of a media façade. Exploring the installation people can feel how the personal scale is expanded to the architectural scale. The result is an aweinspiring experience of light, sound, speed

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MEDIA ARCHITECTURE / BCP AFFINITY, LIMA, PERU

TALKING TO… CLAUDIA PAZ interventions in art... we are trying, yes, but we still don’t get where we should be to make a social improvement on culture and creativity. I want to help people get insipired that believe everything is posible and open their mind to creativity. A space where you can get involved with an experience and forget the rest. Give the city a building that is alive and powered by the emotions of the people, different people. We did it once with the National Stadium. The BCP Affinity is (from my point of view) more ambitious because it is for anyone and everybody to join in! Where do you find inspiration? I like to make trips around the world, visit other countries and cities, know new people, talk to them, go to museums, see some art and installations. This is where I get my inspiration.

Why do you do these kind of projects, what is your motivation? My motivation is the people, make them explore new experiences, feel emotions, if I can take a sigh from them I will be happy. I think this installation opens your mind to creativy. I do this for the new generation, my little girl of five years old now. This generation has to grow up seing wonderful things, to always push themselves to explore new ways of creativity. In my country we don’t have the chance to see much modern art, we don’t have lots of museums were we can get insipired seing a painting by Picasso, Monet, Dali, Miro... or new

and generative architecture that is directly related to one’s own body movements. The installation consists of three main parts - the 3D façade canvas with six layers of LEDs (covering 50 x 19 x 1.2 metres), the interactive LED outdoor podium (1.7 x 1.5 metres) with multi-touch sensors and the interactive and lighting control systems. The public facing podium has a direct visual relationship with the façade, creating an impressive but unifying experience. Stereo speakers flank the slanting podium, which delineates the space for expression. The

JAPANESE

ペルー共和国、サンイシドロのBCP(Banco de Crédito)の建物は時代とともに変化してきた。建造当初こそ1970年代のブルータリスト建築だったが、1990年代にこの国で吹き荒れたテロの嵐のため徐々にコンクリートの要塞へと形を変え、2014年に現代の進歩主義的なペルー人気質を表すデザインへと変貌を遂げた。設計段階では、一般大衆に直接訴求するインテラクティブなファサードを創ることになった。設備に含まれるのは主に3つのパーツで、50×19×1.2メートルの空間に渡る6層構造のLED３Dファサードキャンバス、マルチタッチセンサーが装備された双方向のLED 屋外ポディウム（1.7×1.5メートル）とインテラクティブ照明制御システムである。ポディウムは立体の奥行を感知し、D３ファサードにインテラクティブプログラムを通してタッチレスで体の動きを伝えるインターフェースを提供している。

How much time did this project take? BCP Affinity has been a project two years in the making, from initial concepts to delivery. As always we form a strong connection with the client, involving them in the process, revealing the installation’s potential during development and inviting the client and the architect to participate in our vision. How big was the multidisciplinary team to work on this project ? For BCP Affinity we needed a large group of professionals involved - Sound Designer: Neil Spragg / Future Sound Design; Interactive Programmer: Chris Plant / Colour Burst; e:cue programmer: Ruby Rosenthal; Philips CK

podium senses 3D depth and provides a touchless interface that transmits body movements, via live interactive programming, onto the 3D facade. Each interactive show is based on natural phenomena that are designed to evoke a childlike engagement in adults. One forms a personal relationship with the experience that arouses different emotions in different people. Each show has a unique interface that intuitively steers you to express yourself. Much like a musical instrument, people generate their own composition

ファサードは6層構造のLED光源であり、一番外側の層では日中でも見えるな大きなPhilips ArchiPointのノード（連結ポイント）を19 28のグリッドで532本の垂直な棒の先端に取り付けた。内側の5層のLED 光源はより小さな点状照明の集合体であり、Philips Flex MXを用いてLEDを10個づつひも状につなげて使用している。

CHINESE BCP (Banco de Crédito) 位于圣伊西德罗，风格随着时间不断变化。最初 1970 年代时，其建筑采用野兽派设计。到了 20 世纪 90 年代，由于恐怖活动对该国的威胁，该建筑演变成了一座混凝土堡垒。最新的 2014 设计则反映了现代化的、进步的秘鲁社会。该方案旨在创建交互式门面，从而直接吸引大众。设施主要包含三部分：带有六层 LED 的三维表面帆布（覆盖 50 × 19 × 1.2 米），具有多点触控传感器的互动

programmer: Scott Dellaire; Fixture modificactions from CK Philips lead by Tomas Sandoval; Nicholas Cheung to integrate the design and interactive hardware and software in London and lead the design and manufacturing of the podium in the UK; Cesar Castro from Peru, who in charge of the design of the technical & control specification and to lead the onsite team, coordinate with the multidisciplinary team all the technical, software, control specifications to make the project happen. Why did you decide to design a tridimensional mesh for this facade? From a formal point of view, the architect decided only to cover the building with a glass wall so, instead of having something so ortogonal and boring, we proposed to have six layers of LEDs to transform the building at night making organic shapes round the edges so it looks more alive than static. We wanted to create depth in the lights to add a touch of reality surpassed by anything we have tried before. When the people look up, because of the angle and the place that the podium is located, they will feel inside the tridimensional space. What is your favourite thing about this project? The fact that any person, regardless of social class, education or heritage, can enjoy the latest technology at the tip of their fingers to stimulate their creativity. What we gave to the city is a gigantic interactive art piece, that links the people to the landscape.

but smart algorithms are working in the background ensuring a beautiful encounter. The façade design consists of six layers of LEDs, the outermost using large Philips ArchiPoint nodes that are daylight visible; these are located on the end of 532 perpendicular poles in a 19 x 28 grid. The next five layers of LEDs are finer points of light, held in strings of ten LEDs using Philips Flex MX. There are two deliberate grids; one bright, bold and sparse for dramatic moments, the other concentrated and subtle for nuanced sculptural effects.

LED 户外平台（1.7 × 1.5 米）和互动、照明控制系统。平台能感知 3D 深度，并提供一种非接触式的界面，将身体动作通过现场互动节目传到 3D 立体面。立体面的设计包含六个 LED 层面，最外层采用大型的 Philips ArchiPoint 节点，白天可见；这些位于 532 个垂直杆的末端，以 19 × 28 网格式排布。LED 的另外五层则是更细小的光点，使用 Philips Flex MX，包含在由十个 LED 灯组成的灯串中。

FRANÇAIS Le bâtiment de la BCP (Banco de Crédito) à San Isidoro s’est toujours transformé avec le temps. L’architecture originale des années 70 présentait une conception dite « brutaliste ». Dans les années 90, celui-ci se transforma en une forteresse de béton en raison des activités terroristes anéantissant le pays. En 2014, sa dernière incarnation reflète une société péruvienne moderne et progres-

siste. La proposition consistait à créer une façade interactive afin d’engager directement le grand public. L’installation se compose de trois parties principales ; la toile 3D de la façade avec six couches de D.E.L. (couvrant 50 x 19 x 1,2 m), le podium extérieur interactif en D.EL. (1,7 x 1,5 m) avec capteurs « multicouches » et enfin des systèmes de contrôle interactif d’éclairage. Le podium capte la profondeur en 3D et fournit une interface sans contact qui transmet les mouvements du corps par l’intermédiaire d’une programmation interactive en direct sur la façade 3D. La façade présente six couches de diodes électroluminescentes, la couche la plus externe utilisant de grands nœuds de chez Philips ArchiPoint et visibles le jour ; ceux-ci se trouvent à l’extrémité de 532 perches perpendiculaires dans une grille de 19 x 28 m. Les cinq couches de D.E.L. suivantes sont des points de lumière plus subtils retenus en chaînes de dix diodes électroluminescentes utilisant des Philips Flex MX.

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MEDIA ARCHITECTURE / BCP AFFINITY, LIMA, PERU

In total there are 26,182 RGB addressable fixtures. A slanting monolithic podium rises seamlessly from the plaza’s stonework, an array of Sensacell LED panels are diffused to provide an inviting but impressive representation of the façade at a human scale. Multi-touch electrostatic sensors detect a presence on the podium. A network of interactive servers remotely process the live input data, returning the interactive content simultaneously to the façade and back to the podium LEDs.

DEUTSCH Das BCP (Banco de Crédito) Gebäude in San Isidro hat im Laufe der Zeit zahlreiche Veränderungen durchlaufen. Die ursprüngliche Architektur aus dem Jahre 1970 war ein brutalistisches Design. In den 1990er Jahren entwickelte es sich zu einer Betonfestung aufgrund der terroristischen Aktivitäten, die das Land bedrohten. Die neueste Inkarnation von 2014 spiegelt eine moderne und fortschrittliche peruanische Gesellschaft wider. Der Vorschlag bestand darin, eine interaktive Fassade zu schaffen, um die Öffentlichkeit direkt einzubeziehen. Die Anlage besteht aus drei Hauptteilen, der 3D-Leinwand-Fassade mit sechs LED-Schichten (die 50 x 19 x 1.2 Meter abdeckt), dem interaktiven LED-Podium im Freien (1.7 x 1.5 Meter) mit Multi-Touch-Sensoren und den interaktiven und Beleuchtungs-Steuersystemen. Das 3D-Podium bietet eine berührungslose Schnittstelle, die Körperbewegungen über eine interaktive Live-Programmierung auf die 3D-Fassade

BCP Affinity is a permanent interactive art installation and reliability is vital since it represents the client’s image. The main servers run together with back-ups, which seamlessly replace their counterparts in an event of a failure. The corporate client can be assured that their installation is always ready to start according to their schedule. Ultimately all the technology is designed to become transparent, leaving only a magical experience and feelings evoked by the encounter. www.claudiapaz.com

übermittelt. Das Design der Fassade besteht aus sechs LED-Schichten, die äußerste verwendet große ArchiPoint-Knoten von Philips, die tagsüber zu sehen sind. Sie befinden sich am Ende von 532 senkrechten Polen in einem 19 x 28-Raster. Die weiteren fünf LED-Schichten sind dünnere Lichtpunkte, die von zehn LEDs, die Philips Flex MX verwenden, zusammengehalten werden.

ITALIANO L’edificio BCP (Banco de Crédito) a San Isidro, è sempre stato a passo con i tempi. L’architettura originale del 1970 era stata progettata in modo rude. Nel 1990, si è evoluto in una fortezza di cemento a causa dell’attività terroristica che ha rovinato il paese, ma l’ultima incarnazione del 2014 riflette una società peruviana moderna e progressista. La proposta era di creare una facciata interattiva per coinvolgere direttamente il pubblico. L’installazione è composta da tre parti principali: la tela 3D sulla facciata con sei strati

To enable interactivity with the façade, Paz and Cheung created a podium of LED panels that mimics the façade on a smaller scale. Passersby choose from eight interactive shows that use both light and sound. Multi-touch sensors detect when the screen is touched triggering a network of interactive servers that remotely process the live input data.

PROJECT DETAILS Banco de Crédito building, San Isidro, Peru Concept & Design: Claudia Paz & Nicholas Cheung Production: ARQUILEDS , Cesar Castro , Claudia Paz , Nicholas Cheung LED supplier: Philips Color Kinetics, Sensacell Control: e:cue

di LED (che coprono 50 x 19 x 1,2 metri), il podio interattivo a LED per esterni (1,7 x 1,5 metri) con sensori multi-touch ed i sistemi di controllo interattivi di illuminazione. Il podio rileva la profondità 3D e fornisce un’interfaccia touchless (che può essere comandata senza bisogno di toccarla) che trasmette i movimenti del corpo attraverso la programmazione interattiva dal vivo sulla facciata 3D. Il design della facciata è costituito da sei strati di LED, il più esterno vede l’utilizzo di grandi nodi Philips ArchiPoint che sono visibili di giorno e che sono posti sull’estremità di 532 pali perpendicolari in una griglia 19 x 28. Gli altri cinque strati di LED sono punti di luce più sottile, tenuti a stringhe di dieci LED con Philips Flex MX.

ESPAÑOL El edificio del BCP (Banco de Crédito) en San Isidro siempre ha cambiado a lo largo del tiempo. La arquitectura original de los años 1970 era de un diseño brutal. En los años 1990 evolucionó hacia una fortaleza de concreto debido a

la actividad terrorista que azotaba al país. La última encarnación del 2014 refleja a la moderna y progresista sociedad Peruana. La propuesta fue crear una fachada interactiva para involucrar directamente al público general. La instalación consiste en tres partes principales; el lienzo 3D de la fachada con seis capas de LEDs (cubriendo 50 x 19 x 1.2 metros), el panel interactivo exterior de LED (1.7 x 1.5 metres) con sensores multi-touch y los sistemas de control interactivos y de iluminación. El panel censa la profundidad en 3D y ofrece una interface por aproximación que transmite los movimientos corporales sobre la fachada 3D, a través de un programa interactivo. El diseño de la fachada consiste en seis capas de LEDs, en donde la más externa, utiliza grandes nodos Philips ArchiPoint que se ven con luz natural; estos están ubicados al final de 532 polos perpendiculares en una grilla de 19 x 28. Las próximas cinco capas de LED son puntos de luz más delgados, sostenidos sobre cuerdas de diez LEDs que utilizan Philips Flex MX.

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MEDIA ARCHITECTURE / L’AVENUE, SHANGHAI, CHINA

L’Avenue, a high-end retail and office complex, is the first joint venture between luxury brand conglomerate LVMH (Moët Hennessy • Louis Vuitton) and the famous Macau gaming and Hong Kong real estate mogul, Stanley Ho. The result is a ‘destination’ high-class shopping mall that draws customers from far and wide due to its mass of high-end luxury brands. It is also a major landmark building in Shanghai which is no mean feat in a land of dazzling skyscrapers. Japanese architect, Jun Aoki, is a regular collaborator for Louis Vuitton and L’Avenue is a luxury retail flagship in Shanghai. It seems he has been tasked to take branding to another level with the façade of L’Avenue. The tower rises out of a ‘necklace’ (actually a seismic collar) that forms the boundary between the sprawl of the podium and the vertical surfaces. Peter Kemp and Simon McCartney of Illumination Physics (IP) were given the responsibility of providing a façade lighting solution for the building following a scheme by Chinese lighting design firm Relux & Relux. A logical and inevitable design concept had already been penned. The tower and the upper skin of the podium were decorated with several thousand metal fins that overlap each other’s dimensions; odds and evens like a cross-stitch. The organic side of this serves to increase the metaphor of the building – they are like the scales of some creature. Illumination Physics was handed the basis of a design. The aim was to realise it and make it better; more practical, more buildable and able to be integrated into the unforgiving process of construction that is often so unfriendly to the façade lighting specialist. The fins varied in length at 6.5 metres (give or take). That in itself was not an issue but the width of 140 millimetres was a problem. The concept design proposed to use a string of pixels; LED nodes on a string of cable with an RGB driver at the head. This seems like the logical solution as the flexible cable enables one to cope with differing fin lengths. However, without a diffused layer between the viewer and the LED all one would see would be a row of dots. Thus, a layer of partially opaque acrylic was proposed for the front of the fins so as to even out the ‘dots’. This structure was highly problematic because of the need to account for wind loads and the unstable nature of what is basically a flexible strata of plastic that would somehow need to be bonded to the aluminum. Access to the LED for maintenance was also a problem with this approach, as was ingress of water and grime. The fins could

L’AVENUE L’AVENTURE Australian lighting manufacturer Illumination Physics has collaborated with Japanese architect Jun Aoki to create the stunning media façade for this commercial tower in Shanghai.

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Pic: Jason L Findley

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MEDIA ARCHITECTURE / L’AVENUE, SHANGHAI, CHINA

Pic: Jason L Findley

JAPANESE L Avenueは富裕層向けの商業ビジネス施設。 LVMH （Moët Hennessy • Louis Vuitton）、とマカオのカジノ、香港不動産業界の大物として名高いStanley Ho氏の初めての共同事業である。中国の照明デザイン会社Relux & Reluxの設計による、ファサードの照明設置を任されたのがIllumination Physics。タワーとポディウムを覆う外壁は何千もの重なり合う金属スレートで装飾されている。金属スレートの長さは様々だが平均すると6.5メートルで、幅はちょうど140ミリメートル。コンセプトデザインではタワー先端にRGBドライバー付LED画素を使用することが提案され、画素の「点」を均一にするために金属スレートの正面には一部不透明なアクリル層の使用が検

討された。 Illumination Physicsはこのコンセプトのコアな部分を保ちながらも、照明を独立した部品として金属の金属スレートに埋め込み、両端を接合して継ぎ目の見えない仕上がりとした。

CHINESE L’Avenue（尚嘉中心）是一所集零售和办公为一体的高端名品中心，也是首个集路易威登集团、港澳博彩房地产大亨何鸿之力于一身的合资企业。参照中国灯光设计公司 Relux & Relux 的拟定计划，Illumination Physics负责为这所名品中心设计外观照明方案。高楼和矮墙的表面用数千片鳍形金属片装饰而成，相互交错重叠。金属片的长宽各有差异，长度在 6.5 米左

never be rated at IP65. IP kept the essence of this visual concept but decided to stick with their normal technical approach requiring that the light fixtures be self-contained components that fitted into the metal fins and butted endto-end to form a continuous display with no visible joints. Each and every fixture would be completely sealed against the elements and easily removable for maintenance if the need arose. The width of the fins posed a structural challenge. Kemp and McCartney were instructed that the LED fixture must completely fill the width of the fin (140mm) which meant that they would be creating a metal/plastic composite LED fixture that was much wider than any they had previously designed. The structural integrity of the tube was an issue as was the huge volume. Under heating and cooling the air inside the tube would attempt to expand or contract according to Charles’s Law of Physics. Because the size of the tube was so large, this problem would be accentuated, unsustainably. IP had already developed a family of direct view LED tube type products called IP BAR. The essential elements are a continuous PMMA extrusion for the diffused plastic tube over which an aluminum chassis is fitted for strength. The chassis provides the rigidity and the mounting interfaces with the building, but without the need for any penetration of the plastic extrusion. During heating and cooling, the different coefficients of expansion of aluminum and polycarbonate do not fight one another as the chassis is not bonded to the tube. IP had also dealt with the expansion and contraction of the trapped air within by using two Gore-Tex vents. Gas pressure could equalise with the environment and there would be neither negative nor positive pressure on the seals. IP Bar is most commonly sold as an RGB product although a white LED version is also available. Most importantly, IP take great care with binning to ensure that the RGB

右，宽度则约 140 毫米。设计概念提出在建筑顶部，用一串 LED 像素灯和 RGB 驱动来装饰。为了实现这个设计，在鳍形金属片的前面加上了一层半透明的腈纶来使这些“小点”显得平顺。Illumination Physics 保留了这个设计理念的精华，使这个固定装置看起来像独立的部件，却又于鳍形金属片融为一体，而且从头到尾形成了一个连贯的整体，看不出任何明显的连接。

FRANÇAIS L’Avenue, un complexe de bureaux et de magasins haut de gamme, est le premier partenariat entre LVMH (Louis Vuitton * Moët Hennessy) et Stanley Ho, le célèbre magnat du jeu de Macao et de l’immobilier de Hong

Kong. L’entreprise Illumination Physics fut chargée de trouver la solution d’éclairage de la façade de l’immeuble à la suite de l’appel de la société chinoise de conception d’éclairage Relux & Relux. La tour et le contour supérieur du podium sont ornés de plusieurs milliers d’ailerons métalliques se chevauchant les uns les autres. Les ailerons varient en longueur (env. 6,5 m) et en largeur (seulement 140 millimètres). Le plan de conception propose l’utilisation d’une série de pixels D.E.L. avec un pilote RVB à son extrémité. Pour ce faire, le concepteur proposa de mettre une couche acrylique partiellement opaque à l’avant des ailerons de manière à égaliser les « points ». L’entreprise Illumination Physics garda l’essence de ce concept, mais créa un ensemble de composants autonomes insérés dans les ailerons métalliques et placés bout à bout, offrant ainsi un affichage continu sans joint visible.

Photography: James Newton

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MEDIA ARCHITECTURE / L’AVENUE, SHANGHAI, CHINA

version can mix a pure white display. As a result, colour may be used on L’Avenue for special occasions but white would be the default. “In our recent experience, the IP BAR family of product had been used in similarly large quantities on new façades before,” remembers McCartney. “If we could overcome the dimensional problems of up-sizing IP BAR to suit L’Avenue without increasing the cost, we were confident we could be on target.” By sloping the sides of the LED tube, Illumination Physics created a stiffer structure that was better able to resist torsion. They also made the front face wide to fill the fins without compromising the structural integrity resulting in a fortuitous and critical advantage in this new profile. The truncated triangular section dramatically trimmed the volume of the fixture to the point that the two Gore-Tex vents could again cope with the expected expansion and contraction of the trapped air inside the new product. And so Illumination Physics had the basis of a workable design that they dubbed ‘IP BAR-LUX’. Janine Dettki, a façade engineer who works for Josef Gartner, in Germany adapted the snap-in fixing technique in order to fix the IP BARs on to the façade. The snap-in is very strong and involves a spring steel hooked prong being forced into the narrowing throat of a toothed wedge until it snaps over the teeth. In this position the arrangement is very secure and the fixture cannot be pulled out. Removal requires a special tool to unload the spring before the teeth can disengage. Unfortunately, whilst studying the plans closely it was discovered every one of the fins was a different length! After the initial panic, Illumination Physics set out to find a solution. “If we could match the length of the fin to within 50mm with our LED luminaires, then that would

be acceptable,” says McCartney. “The difference in length between the fin and the lighting would vary from zero to 50mm. To complete the fascia, an aluminum plate would be cut to size in order to make up the difference. During the day it would look perfect, at night the differences would not be noticeable.” Illumination Physics created a family of variable length light fixtures that could be combined in a certain order so that it was possible to fill the differing fin lengths. The façade for L’Avenue, complex as it is, is a unitised curtain wall system all the same. The façade is made up of a panel system in which the pieces were manufactured off site and then transported in batches to the building. In a predetermined order the panels were lifted from the ground by a hoist that could travel around the perimeter of a higher concrete floor (the temporary mono-rail). The panels were then stacked one upon the other and hung from metal brackets that had been cast into the concrete edge above (called ‘embeds’). Effectively the panels are ‘hung’ in the same way as curtains are in a window, hence the name ‘curtain wall’. The assembly sequence of the curtain wall panels dictated the cable network design because the lighting crew was required to keep in-step with the façade assembly crew. The location of the driver within each fin was driven by the need to reach it by hand as the assembly was lowered into position. Like a slower Formula One pit stop, each of the crew had his own task, practiced and coordinated with one another at the work site. L’Avenue grasps your attention in a way that a rare and truly valuable art piece does. You cannot miss it and you cannot easily look away once you have been captivated. www.aokijun.com www.illuminationphysics.com

The different lengths of the IP BAR LUX were assembled at the factory before being installed on the façade. The luminaires are controlled by an Illumination Physics control system.

PROJECT DETAILS L’Avenue, Shanghai, China Lead Architect: Leigh & Orange Architect: Jun Aoki Façade Design: Illumination Physics (Peter Kemp, Simon McCartney) Lighting Design: Relux & Relux (Roger Lim) Curtain Wall Engineer: Josef Gartner (Janine Dettki) LED & control supplier: Illumination Physics

boten, um die ‘Punkte’ auszugleichen. Illumination Phys-

alette metalliche che si sovrappongono l’un l’altra. Le alette

el magnate de los bienes raíces en Hong Kong, Stanley Ho. A

ics bewahrte die wesentlichen Aspekte dieses Konzepts,

variano in lunghezza di circa 6,5 metri e in larghezza di soli

Illumination Physics se le dio la responsabilidad de proveer

gestaltete die Beleuchtungskörper allerdings als in sich

140 millimetri. Il progetto proponeva l’uso di una serie di

una solución de iluminación para la fachada del edificio

L’Avenue, ein Geschäfts- und Bürokomplex der Luxusklasse,

geschlossene Komponenten, die in die Metallstifte hinein-

pixel a LED controllati da un driver RGB. Per ottenere ciò,

siguiendo un proyecto de la empresa China de diseño de

ist das erste Joint Venture zwischen LVMH (Moët Hennessy •

passen und sich ineinander reihen, um ein kontinuierliches

è stato proposto uno strato di acrilico parzialmente opaco

iluminación, Relux & Relux. La torre y el revestimiento su-

Louis Vuitton) und dem berühmten Spielmogul aus Macau

Display ohne sichtbare Verbindungen zu bilden.

sulla parte anteriore delle alette in modo da uniformare i

perior de la pantalla están decorados con varios miles de

“punti”. Illumination Physics ha mantenuto l’essenza di

aletas de metal que se superponen unas con otras. Las ale-

ITALIANO

questo concetto, ma ha reso gli impianti dei componenti

tas varían en longitud en alrededor 6.5 metros y un ancho

autonomi che montati nelle alette di metallo, vengono

de solo 140 milímetros. El diseño conceptual proponía el

Beleuchtungsfirma Relux & Relux. Der Turm und die obere

L’Avenue, un complesso di negozi e uffici di alta classe,

savrapposti per formare un display continuo senza giunti

uso de una línea de pixeles de LED con un RGB a la cabeza.

Schicht des Podiums wurden mit Tausenden von Metall-

è la prima joint venture tra LVMH (Moët Hennessy • Louis

visibili.

Para lograrlo, se propuso una capa de acrílico parcialmente

stiften verziert, die sich überlappen. Die Stifte differieren in

Vuitton) ed il famoso magnate del gioco Macao e Hong

der Länge von etwa 6,5 Metern und einer Breite von nur 140

Kong, Stanley Ho. Ad Illumination Physics è stata data la

Millimetern. Das Konzeptdesign hat die Verwendung einer

responsabilità di fornire una soluzione per l’ illuminazione

LED-Pixel-Kette mit einem RGB-Treiber am oberen Ende

della facciata dell’edificio, seguendo uno schema della Re-

L’Avenue, un complejo de oficinas y ventas minoristas de

que encajaban en las aletas de metal haciendo coincidir

angeboten. Um dies zu realisieren, wurde eine Schicht aus

lux & Relux (società cinese di design luci). La torre e la parte

primer nivel. Es el primer joint venture entre LVMH (Moët

los extremos para formar una imagen continua sin juntas

teils blickdichtem Acryl für die Vorderseite der Stifte ange-

superiore del podio sono decorate con diverse migliaia di

Hennessy Louis Vuitton) y la famosa Macau de los juegos y

visibles.

DEUTSCH

und Hong Kongs Real Estate Mogul, Stanley Ho. Illumination Physics war verantwortlich für eine Beleuchtungslösung der Gebäudefassade gemäß dem Entwurf der chinesischen

ESPAÑOL

opaco para el frente de las aletas para destacar los puntos. Illumination Physics mantuvo la esencia de este concepto pero realizó los artefactos como componentes autónomos

CALL FOR PAPERS

Rome Professional Lighting Design Convention 28. â&#x20AC;&#x201C; 31. October, 2015

www.pld-c.com

CALL FOR PAPERS The Call for Papers for PLDC 2015 will be published on 1. September, 2014!! Play an active part in the PLDC 2015 programme and submit your paper for review at www.pld-c.com.

NEXT WARM-UP EVENTS - Conference in Istanbul/TY - Workshop and seminar in Monza/I - Round III of The Challenge in Edinburgh/UK

UPDATE Check out the programme structure on our website now. Stay informed so as not to miss any details on this first-class global event.

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MEDIA ARCHITECTURE / THE ENERGY TOWER, ROSKILDE, DENMARK

TOWERING INFERNO The Energy Tower facility stands as a landmark on the edge of Roskilde in Denmark, with a glowing façade scheme that expresses the dual waste incineration and energy production processes carried out within.

All pics: Jeppe Sørensen

With an increasing awareness of the need to combat climate change, the worlds of business and politics are more willing than ever to embrace technologies that will help in the fight to reduce global C02 emissions from fossil fuels. Indeed having the right green credentials has become an essential part of many corporate identities. When Danish waste management company KARA/ NOVEREN made the decision to replace two of their furnaces with a state-of-the-

art waste-to-energy incineration line, they were keen that the new structures should be celebrated with an integrate façade scheme. They envisioned a structure with the ability to communicate and relay messages of sustainable energy to the public. The Energy Tower, as the new facility is popularly known, stands tall on the skyline of the Danish city of Roskilde. Inside its punctuated façade of irregular geometric

planes, the plant is able to produce energy from residual waste that cannot otherwise be recycled. Located only a few hundred meters from one of the major inroads to the Danish Capital of Copenhagen, it is visible to thousands of spectators each day. The tower was designed by Dutch architect and expert in sustainable design Erick Van Egeraat, who brought in Danish lighting architect Gunver Hansen to identify and implement the most optimal lighting

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MEDIA ARCHITECTURE / THE ENERGY TOWER, ROSKILDE, DENMARK

solution. An extensive testing phase began to determine the best choice of fixtures, the requirements for which were very specific. The lighting solution had to be capable of reproducing the lighting concept created by Van Egeraat. This meant all fixtures had to be individually controllable to give the building a dynamic expression, and be able to illuminate the relatively dark projection surface. The lighting had to be bright and powerful enough to be seen from a distance, while still meeting the desire of low power consumption.    Even before the construction process had started, various tests were performed on surfaces similar to those proposed

JAPANESE デンマークの町ロスキレにひときわ高くそびえたつThe Energy Towerは、廃棄物処理会社KARA/NOVERENによる最新鋭の廃棄物熱源転換焼却設備。首都コペンハーゲンへの幹線道路まで数百メートルというアクセスの良さから、一日数千人もの見物客が見込むことができる。オランダの建築家Erick Van Egeraatがデンマークの照明デザイナー Gunver Hansenを起用し、一つずつ調節可能で消費電力が少なく、比較的暗い映写面を照らすのに最適な照明を選択、採用した。選ばれたのはMartin Exterior 410とTripix 1200。 MartinのMartin M-PC、 RDM 5.5スプリッターとEther 2DMXの制御による照明は、焼却塔を穏やかに燃える篝火に見立て、工場でのエネルギー生産のシンボルとしたい、というVan Egeraatの思いを映し出してい

for the Energy Tower. Ultimately, Martin Professional’s Exterior range were chosen for the project due to their size, durability, and colour reproduction capabilities. Van Egeraat wanted the illumination of the tower to contribute to the structure’s identity by referencing the combustion and energy making process within.   “At night the backlit, perforated façade transforms the incinerator into a gently glowing beacon - a symbol of the plant’s energy production,” explains Van Egeraat. “Several times an hour a spark of light will gradually grow into a burning flame that lights up the entire building. When the metaphorical fire ceases, the building falls

る。一時間に数回ほどのまたたきが徐々に建物全体を明るく照らす大きな炎となるが、このシンボリックな炎が消えると建物は残り火の状態に戻る。

CHINESE 高耸在丹麦罗斯基勒的“能源塔”是顶尖的废物再生能源焚烧线，它由废物管理公司 KARA/NOVEREN 设计建造。“能量塔”所在的位置距通往哥本哈根（丹麦首都）的一条主干道只有几百米，每天几乎都有成千上万的人来参观。荷兰建筑师 Erick Van Egeraat 邀请了丹麦的照明设计师 Gunver Hansen 来鉴定和落实最佳的照明设计方案——照明的固定装置是可以单独控制的，不仅可以有选择地照亮相对黑暗的放映面，还可以降低能耗。设计师 Egeraat 选用了 Martin Exterior 410

back into a state of burning embers.”    The tower’s structure consists of a framing grid built around the new chimney. Ambercoloured aluminium plating is mounted onto the grid to form the exterior façade of the tower. Lighting fixtures are mounted on the grid and angled to project onto the inner façade. This light is then visible at night through the laser-cut circular openings of the outer facade. Many factors had to be taken into consideration. The distance between the exterior façade and the interior projection surface varies across the entire structure, so the position of each individual fixture had to be carefully considered to ensure colours would mix

TM 和 Tripix 1200TM 两种型号的LED灯，由 Martin MPC、RDM 5.5 分离机和 RDM 5.5 来控制。它们呈现了 Van Egeraat 的设想——将这个焚烧塔变成散发着微光的灯塔。同时这也是该能源生产设施的一个象征。一小时内每隔一段时间，星星之光会逐渐变成点亮整个建筑的“熊熊火焰”。当“火焰”退去，建筑又如同燃烧的灰烬一般。

FRANÇAIS La tour dénommée « Energy Tower » est une ligne d’incinération des déchets à valorisation énergétique exemplaire construite par la société de gestion des déchets KARA/NOVEREN, qui se dresse fièrement à l’horizon de la ville danoise de Roskilde. Situé à seulement quelques centaines de mètres de l’une des entrées principales de la capitale danoise Co-

penhague, cet édifice offre une portée énorme et des milliers de spectateurs potentiels au quotidien. L’architecte néerlandais Érick Van Egeraat invita l’architecte-éclairagiste danois Gunver Hansen afin qu’il identifie la solution d’éclairage rêvée, et installe des appareils individuellement contrôlables, capables d’éclairer cette surface de projection relativement sombre en utilisant une faible consommation énergétique. Des appareils Martin Exterior 410 et Tripix 1200 ont été choisis. Contrôlés par un Martin M-PC de chez Martin, les diviseurs RDM 5.5 et Ether 2DMX reproduisent la vision de Van Egeraat, transformant la tour en un doux phare rougeoyant - un symbole de la production énergétique de l’usine. Plusieurs fois par heure, une étincelle de lumière se transforme progressivement en une flamme ignée illuminant l’ensemble de l’édifice. Lorsque le feu métaphorique s’éteint, l’édifice retourne à son état de braise ardente.

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correctly and output would be even. Fixture placement also had to ensure there were no direct views of LED light sources, so a number of the projectors had to be screened off. In addition to these technical decisions, the physical access between the inner surface and the new exterior façade was limited. The use of lifting machinery was impossible, so the installation had to be carried out by a team of professional climbers from Danclimb who mounted the fixtures via rope access. “We’ve already received overwhelming public support for this project,” commented Thorkil Jørgensen, CEO of KARA/NOVEREN,

DEUTSCH Der Energy Tower - eine hochmoderne Müllverbrennungslinie, die von dem Unternehmen für Abfallentsorgung KARA/NOVEREN gebaut wurde - richtet sich hoch in der Skyline der dänischen Stadt Roskilde auf. Er liegt nur einige Hundert Meter entfernt von einem der Hauptstraßen in die dänische Hauptstadt Kopenhagen und verfügt über eine große Reichweite und potentiell Tausenden von Betrachtern täglich. Der holländische Architekt Erick Van Egeraat brachte den dänischen Beleuchtungsarchitekten Gunver Hansen für die Identifizierung und Umsetzung der optimalsten Beleuchtungslösung ein – Beleuchtungskörper, die einzeln gesteuert werden können, in der Lage, die relativ dunkle Projektionsfläche zu beleuchten und die wenig Strom verbrauchen. Martin Exterior 410 und Tripix 1200 wurden ausgewählt. Sie werden durch einen Martin Martin M-PC, RDM 5.5 Splitter und Ether 2DMX gesteuert und reflektieren die Vision von

after the launch of the new tower scheme. “People respond very well to the idea and the concept, and they really like what it adds to the area in terms of architecture and beautiful lighting. This is extremely valuable to us for branding purposes and to secure a future leading position in waste management. We see it as a great investment on several levels. We’re happy to combine an investment in modern waste management methods with an extraordinarily beautiful structure and landmark for the area.”    www.erickvanegeraat.com

Van Egeraat – den Turm in ein sanft glimmendes Lichtsignal zu verwandeln - Symbol für die Energieerzeugung der Anlage. Mehrmals stündlich wächst ein Lichtfunken zu einer brennenden Flamme, die das gesamte Gebäude erhellt. Wenn das metaphorische Feuer erlischt wird das Gebäude wieder zu einem Haufen brennender Glut.

ITALIANO L’ Energy Tower, un’ elemento all’avanguardia nel settore dell’ energia ricavata dall’ incenerimento dei rifiuti (costruita dalla società di gestione di rifiuti KARA/NOVEREN), si erge sulla skyline della città danese di Roskilde. Situata a poche centinaia di metri da una delle più importanti scorrerie alla capitale danese Copenhagen, la torre ha un’enorme portata e potenzialmente attira migliaia di spettatori su base giornaliera. L’architetto danese Erick Van Egeraat ha coinvolto il connazionale Gunver Hansen (progettista dell’illuminazione) per implementare ed identificare quale fosse la soluzione ottimale per quanto

Martin Professional fixtures project light onto the inner façade of the structure, a glow which is visible through the laser cut holes in the outer façade layer. Several times an hour a spark of light gradually grows into a burning flame that lights up the entire building, a reference to the incineration and energy production carried out within.

PROJECT DETAILS The Energy Tower, Håndværkervej 70, Roskilde, Denmark Client: KARA/NOVEREN Architect / Lighting Concept: Erick van Egeraat Lighting Architect: Gunver Hansen Lighting Specified: Martin Professional 112 x Exterior 410, 78 x  Tripix 1200, Martin M-PC, RDM 5.5 splitter, Ether 2DMX

riguarda l’illuminazione della Torre, utilizzando apparecchi che fossero sia regolabili singolarmente ed in grado di illuminare la superficie di proiezione relativamente scura, ma che avessero anche un basso consumo energetico. Per questo, sono stati scelti i Martin Exterior 410 e i Tripix 1200. Controllati da un Martin Martin M-PC, da uno splitter RDM 5.5 e Ether 2DMX essi danno forma a quella che era l’idea di Van Egeraat, cioè trasformare la torre dolcemente in un faro incandescente (un simbolo della produzione d’energia sprigionata dalla pianta). Più volte all’ora una scintilla di luce cresce poco a poco fino a diventare una fiamma ardente che illumina l’intero edificio e quando il fuoco metaforico cessa, l’edificio ricade in uno stato di braci ardenti.

ESPAÑOL La Torre Energética - una línea de incineración de última generación para la producción de energía construida por la empresa de residuos KARA/NOVEREN - se encuentra er-

guida sobre el horizonte de la ciudad Danesa de Roskilde. La misma está ubicada a unos pocos cientos de metros desde uno de los principales empalmes a la Capital Danesa de Copenhague y cuenta con un gran alcance y miles de potenciales espectadores a diario. El arquitecto holandés, Erick Van Egeraat, trajo al Arquitecto Danés, especialista en Iluminación, Gunver Hansen para identificar e implementar la solución en iluminación que fuera la más óptima – como artefactos controlables individualmente, capaces de iluminar la superficie de proyección relativamente oscura con un bajo consumo de energía. Se optó por Martin Exterior 410 y Tripix 1200. Controlado por un Martin Martin M-PC, RDM 5.5 splitter y Ether 2DMX logran la visión de Van Egeraat – convertir a la torre en un faro cuidadosamente brillante - un símbolo de la producción de energía de la planta. Un destello de luz crece gradualmente convirtiéndose en una ardiente llama varias veces por hora, lo que ilumina al edificio entero. Cuando el fuego metafórico cesa, el edificio vuelve al estado de brazas ardientes.

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MEDIA ARCHITECTURE / PUBLICIS DRUGSTORE, PARIS, FRANCE

DRUGSTORE COWBOY A new LED layer by ECA2 adds an extra element to the curved glass façade of the Publicis Drugstore on Paris’s famous Champs Elysées.

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In July this year, the Publicis Group unveiled a new façade of their headquarters at 133 Avenue des Champs Elysées, a transformation of the existing swirling glass planes into a semi transparent screen of LED pixels. Sitting at the edge of the Étoile roundabout - home to the Arc de Triomphe – the building has a long history of groundbreaking evolution. Marcel Bleustein-Blanchet, founder of the Publicis advertising agency, set up his offices in the former location of the Astoria hotel built in 1900 at the top of the Champs Elysées. In 1958 he opened the first European drugstore on the ground floor. The Publicis Drugstore – a bar, restaurant, cinema, shop, newsstand, tobacco shop and pharmacy that stayed “open all night” revolutionised Parisian life. The Publicis Drugstore building was totally destroyed by fire in 1972 and, soon after, replaced by a simple, modern structure. In 2004, Californian architect Michele Saee transformed the Publicis Drugstore in collaboration with ECA2, an agency within the Publicis Group, by installing 153 curved glass panels onto the old façade. In 2014, this evolved further with the introduction of 17,000 LEDs across the 800m2 of glass panels. The installation – the addition of a technological layer to an already complex architectural structure - was fraught with challenges. 24 months of research, designs and preparation went into the creation of the façade. 20 rope access technicians were required to position the LEDs in a perfect grid pattern behind the glass. To fit each convex curve of the 153 glass sheets, ECA2 had to design a unique fixture, one that would meet the constraints of the site: to respect the spirit of the existing structure, the identity of the Champs Elysées and nearby Arc de Triomphe, and be mindful of the employees working the windows of the building. In addition, the project conforms to a strict environmental charter; each pixel only consumes one watt per hour, which at full capacity is 17 kilowatts for the entire building. www.eca2.com

PROJECT DETAILS Publicis Drugstore, 133 Avenue des Champs Élysées, Paris, France Client: Publicis Lighting Design: ECA2 Architect: Michele Saee LED Supplier: Galaxia France

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MEDIA ARCHITECTURE / CASINO BREGENZ, BREGENZ, AUSTRIA

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FINE LINES A new extension to Casino Bregenz features an alluring façade of colour-changing lines. Earlier this year, Casino Bregenz was transformed and expanded with a new extension and dynamic LED media façade. From inside, guests enjoy an unhampered view of Lake Constance, while the attention of passers-by is drawn towards the flowing, slightly irregular arrangement of horizontal metal elements. When night falls, the façade is transformed into a shining interplay of colours, thanks to a Zumtobel CAPIX evolution LED media façade system. As the individual CAPIX elements are linked by only one data line and one supply line, the 6,500 individual pixels cling to the curved façade of the new building like a second skin. In total, the casino was fitted with 1,140 metres of CAPIX. A dedicated control system produces a series of colour changing effects as well as offering the option of running a sequence of moving images across the façade. Each pixel incorporates three RGB LEDs, producing a bright and brilliant effect, even when viewed from a great distance. At the same time, the façade lighting complies with the strict requirements regarding nature and bird protection applicable in Bregenz and features excellent energy efficiency. The façade blends perfectly into the scenery and adds additional splendour to the cultural mile that has developed over recent years, running from the KUB Kunsthaus to the Landestheater and vorarlberg museum through to Festival Square, where the casino is located. www.zumtobel.com

PROJECT DETAILS

All pics: Marcel A. Mayer

Casino Bregenz, Platz der Wiener Symphoniker, Bregenz, Austria Client: Casinos Austria AG Lighting Supplier: Zumtobel

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MEDIA ARCHITECTURE / RHÔNE ARCHIVES, LYON, FRANCE

Pics: Renaud Araud

GOLDEN NARCISSUS The Rhône archives in Lyon is a building with almost brutalist credentials. Les Éclaireurs developed a lighting projection for its golden sides inspired by Greek myth.

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The new building holding the municiple archives of Rhône, an area of Lyon, can be found in the very centre of the French city’s business district. Built along the railway lines in a former industrial section of the town, the library is formed from three golden volumes, three large beautiful boxes, which express the great value of the documents, history and knowledge held within the building’s walls. Created as part of a program encouraging the creation of artworks on public buildings, the Rhône project was designed by Les Éclaireurs, a youthful and busy French design agency, which has worked on buildings across France. Les Éclaireurs light projection artwork acts to highlight the golden surface of the building’s façades, while creating a counterpoint by washing the top two floors of the building in a cold white light. The large golden façades offer the perfect setting for dynamic video projections and the design team created a series of projections based on the theme of Narcissus, the Greek hunter who died staring at his own reflection in a pool. The two video projections perform a dialogue with each other, face to face. The façades have been mapped to ensure that, innovatively, the video projections are used to create lighting effects and not images. During the four sequences of ten minutes each, golden skins are superimposed on the façades, while subtle movements of brightness pass from one façade to the other, geometrical forms mirroring and switching from one side to the other, creating a brilliant effect that prompts the surface to vibrate as if the façades were the surface of a golden sea. The sequences are made of real footage mixed with virtual images, which flit across the golden walls, creating symbols and patterns that can be interpreted and considered as the viewer so wishes. To fit this to the urban scale and temporality of the business district, the sequences are randomly projected during the first part of the night. To use video projection in the urban realm, as a permanent installation, it is necessary to find ways to extend the artwork’s lifetime. Therefore, in between the two sequences, the façades are bathed in simple lighting. When the city begins to settle down for the night, the projection slows down further and the videos are replaced by façade lighting created by LED lamps. With this strategy, the maintenance of the video projectors is required every two years, prompting the cost of the display to remain acceptable.

The sequences projected onto the Archives building was created from real footage, mixed with virtual images that move across the golden walls creating a fine effect on an impressive building.

The video projectors have been placed on the roof of the central void and locked in waterproof and controlled climate containers. The containers have been covered with the golden material of the façades in order to match with the structure and not distract from its strictly linear features. On the railway side of the building, the golden façade is constructed of vertically fitted sun shading panels and is lit using a matrix of LEDs, including Philips and Nicolaudie fixtures, which have been skillfully hidden behind the frontage. When considered as one, the programming creates waves of light that give the impression to the viewer that light is passing through the building, creating a stunning effect on an already visually arresting structure. www.leseclaireurs.net

PROJECT DETAILS Rhône Archives, Lyon, France Client: Conseil Général du Rhône Architect: Gautier + Conquet, Bruno Dumetier, Agence Séquences Lighting Design: Les Éclaireurs

LIGHTING SPECIFIED Front Facade media façade 2 x CHRISTIES video projector 16 000 lm 2 x special protection boxes for the VP with internal regulated climate 1x CRESTRON automation unit 1 x media server 2 x fiber optic connection Top of the building - 180 x SFEL Tumo TF 54W 6500K DALI - level set by Building management system LED programmed media facade at the back of the building, along the railway track - 100 x PHILIPS Egraze 300mm 3000K DMX - 1x NICOLAUDIE STICK DE3 panel for the LED media programming

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PROJECT / THE ONE, HONG KONG, CHINA

ONE IS BETTER THAN TWO A startling three in one dining experience perched above the neon wonder world that is Hong Kong, The One takes diners on a culinary adventure through differing cultures and cuisines. Lighting designers Firefly created differing lighting schemes for each section of the restaurant, creating a discernibly different atmosphere in each.

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PROJECT / THE ONE, HONG KONG, CHINA

Perched on the 18th floor of Hong Kong’s tallest retail complex, The One is a ‘three in one’ dining experience created by Hong Kong-based Chinese actress, Carina Lau and Aedas Interior Ltd’s award-winning designer, Ira Imerlishvili, whose signature resort and hotel projects span five continents. Firefly Lighting Design was commissioned to work across the whole 18th floor project which includes three different high-end restaurants as well as a tapas bar, link corridor and restrooms, with Owen Xuan in the Firefly Hong Kong office taking the lead. Taking inspiration from as far afield as Kyoto and Barcelona, two of the three restaurants offer fine-dining experiences and the third is a glamorous tapas and sangria bar. Each of the venues has been designed to suit the themes of the country they represent, with Peter Veale and his team at Firefly Lighting acting to create an individual look and feel for each of the three spaces. “It was extremely important to use lighting to create three very different dining experiences and yet have a consistency to the scheme that tied them together,” comments Veale. “As all three restaurants have floor to ceiling glazed expanses that deliver dramatic views across Victoria Harbour, we chose to unify them with concealed lines of light along the blinds by using only two types of Megaman LEDs throughout, enabling us to keep the colour temperature consistent.” The lighting needed to complement and accent the interior design of each individual space with appropriate light levels for the type and mood of each restaurant. It was also required that Firefly comply with Hong Kong’s recently-introduced energy code, while meeting the client’s tight budget. One particular challenge for this project was the amount of daylight penetrating through to each restaurant through the typically large tower block windows. The lighting design created acted to even out the day-lit spaces by balancing out the artificial light levels provided. Light levels were programmed throughout the daytime to change and slowly transform to dramatic and intimate restaurant atmospheres at night. The link corridor lighting plays an important role, balancing out the neutral zone between the lift arrival area and the three dining areas and restrooms. All the lighting in the entrance area is indirect, with concealed lines of light hidden behind the wall and ceiling panels. Concealed lines of Megaman AR111 lamps run along the wall and ceiling panels throughout the corridor that connects the

The Zurriola is the Spanish inspired section of The One, Firefly Lighting Design used Megaman fixtures to highlight the pieces of art which bring a sense of grandeur and glamour to the space.

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PROJECT / THE ONE, HONG KONG, CHINA

The Kyo-Shun section of The One offers Kaiseki cuisine in an authentically atmospheric space. Firefly Lighting Design decided to use edge-lit glass walls in the space, as well as ‘wall grazing’ techniques that disperses light across wall surfaces, creating a particular sense of drama in the room.

three restaurants and the restrooms, to the main lift. The only direct lighting used in this space highlights the names of each restaurant to visitors on their arrival. All three restaurants are unified by a gentle glow that lights the blinds, which are lowered slightly for effect. Each restaurant has its own characteristic design, but all have in common a contemporary approach. The Zurriola, the Spanish inspired fine dining restaurant in The One, is more traditional and uses large-scale works of

JAPANESE 香港で最も背の高い商業施設ビルの18階に作られたThe Oneは居ながらにして3つの体験ができるレストラン。18階の店内全体の照明デザインを任されたFirefly Lighting Design は全面的にMegaman の照明を使用した。The Oneのスペイン料理のエリアであるZurriolaでは、床から天井まで達するワインのディスプレイが施された。オブジェを照らすMegamanの10ワットLED AR111とともにFireflyが選んだのは、棚に並ぶワインボトルのラベルを照らす局所照明用反射型電球Megamanの8ワットMR16、No.28°と No.36°。日本料理のレストランエリア京旬では壁に多数のグレイジングを施して壁の表面全体に光を散らし、ドラマティックな効果をあげている。タパスのエリアであるTapagriaで

art to create drama while transporting the vitality of Barcelona to its diners. As well as accenting these pieces, Firefly also decided to make a feature of Zurriola’s floor to ceiling wine display. Using Megaman’s 10W LED AR111 lamp technology to light the artwork, Firefly also chose to use Megaman’s 8W MR16 28° and 36° narrow beamed LED reflector lamps to highlight the bottle labels in the wine racks. By accenting the artworks and wine racks, the end result is a sophisticated lighting scheme that brings drama to Zurriola,

は高級素材と照明スキームを使用してDJブースを光で囲み、壁面に動く水の映像を映し出すことで特色を際立たせてコントラストを生じさせている。この繊細な光の線はバーやオープンキッチンの周りの演出にも使用されている。

CHINESE The One 位于香港最高商场的 18 层，在这里可以享受到“三合一”的餐饮体验。Firefly Lighting Design（萤火虫灯光设计公司）受托来负责整个18楼的灯光设计，并且全都使用 Megaman 装置。Zurriola 是 The One 中的西班牙主题餐厅，它的特点是从地面到天花板的一整面酒品展示。设计师使用 Megaman 的 10W LED AR111 灯光技术使工艺品闪闪发光。Fire-

without causing any residual glare to the seated diners. Kyo-Shun, the Japanese restaurant within The One serves Kaiseki cuisine, a traditional multi-course Japanese dinner. The space has been designed to include a main dining area that overlooks an outdoor Japanese garden, as well as a sushi bar and teppanyaki tables. The lighting within the space is a mix of both the functional and the dramatic. Firefly opted to incorporate integral lighting through edge-lit glass walls in this area of the project. The technique of

fly 还选用 Megaman 的 8W MR16 28° 和 36° 窄光束 LED 反射灯来加亮酒架上的酒瓶标签。日本餐厅 Kyo-Shun 的特点则是大面积的“墙掠射”，将光线在墙面分散开来，呈现出一种戏剧效果。名为 Tapagria 餐前小吃区的设计使用了丰富的材料，此外照明的设计方案有一些突出的亮点，比如 DJ 展台被一个光环围绕，栩栩如生的雨水效果装饰了整个墙面。微妙的光线笼罩着吧台和开放式厨房。

FRANÇAIS Perché au 18e étage du plus haut complexe commercial de Hong Kong, The One offre une expérience culinaire « trois en un ». L’entreprise Firefly Lighting Design travailla sur l’ensemble du projet du 18e étage, et des équipements Megaman furent utilisés

un peu partout. Dans le Zurriola, le restaurant à thème espagnol du The One, une exposition de vins fut montée du plancher au plafond. La technologie D.E.L. 10 W AR111 de Megaman met en lumière cette œuvre d’art. Firefly a choisi d’utiliser des réflecteurs à diodes électroluminescentes très intenses de 8 W MR16 à 28° et 36°de chez Megaman, afin de souligner les étiquettes des bouteilles placées dans les casiers. Kyo-Shun, le restaurant japonais présente un éclairage rasant qui disperse la lumière sur les surfaces murales, créant ainsi un effet dramatique. Dans le restaurant à tapas Tapagria, de riches matériaux sont utilisés et le système d’éclairage offre un contraste en accentuant des éléments tels que la cabine du DJ, baignée dans un halo de lumière, et les murs animés de fausses cascades d’eau. Ces subtiles lignes de lumière dessinent aussi le contour du bar et de la cuisine ouverte.

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092

PROJECT / THE ONE, HONG KONG, CHINA

Far left The floor to ceiling wine racks were used as a feature by Firefly who used Megaman fixtures to highlight the labels on the bottles without creating glare. Top left The Tapagria tapas bar was lit to ensure the space can be easily transformed into a nightclub during the evening. Bottom left The entrance to Kyo-Shu, the link corridor that connects all the areas of the restaurant together was lit with concealed lines of Megaman AR111 lamps.

PROJECT DETAILS The One, Hong Kong, China Client: The One Interior Design: Ira Imerlishvili Lighting Design: Firefly Lighting Design

LIGHTING SPECIFIED Forma Lighting Multigimbalo Trimless 1 + 2 recessed adjustable gimbal downlights (Megaman AR111 LED) Forma Lighting Occhio pinhole downlights (Megaman MR16 LED) Forma Lighting Bullet IP66 exterior surface mounted LED spotlights Lighting Plus recessed & surface mounted downlights (Megaman AR111 LED) Lighting Plus exterior spike mounted MR16 spotlights Pro-Light Partition LED light bars Pro-Light Flexible LED strips LED Linear VarioLED Flex Nike / Venus LED channels Feelux surface mounted dimmable slim T5 dot-spot inground LED uplights Rosco X24 X-Effects projectors

‘wall grazing’, dispersing light across wall surfaces, has also been used throughout and creates a particular sense of drama on the lowered ceiling in the dining area, using Megaman’s 10W AR111 and 8W MR16 lamps. Kyo-Shun has an indoor and outdoor Japanese garden and the restaurant features a combined sushi bar, teppanyaki and table serving. The lighting here is both functional and dramatic, with integral lighting within displays including edge-lit glass walls and grazing techniques and a glowing ceiling at the sushi bar. The teppanyaki area has a sand effect on the lowered ceiling, which is grazed with light. The design for the tapas area, Tapagria,

uses rich materials and the lighting scheme provides contrast by accenting features such as the DJ booth which is bathed in a halo of light and the animated water effect feature walls. As well as this, subtle lines of light have been placed around the bar and the open kitchen. The glamorous Tapagria tapas and sangria bar is a dining destination during the week and is transformed into a nightclub for the weekend. Designed using tailored timber and wood interiors to mirror the Spanish head chef’s authentic cooking style, the dramatic scheme developed for this area is all about contrast. The feature walls within Tapagria have been lit using Megaman’s AR111 lamps, to create the illusion of an

animated water effect for a more vibrant night-club feel. The same selection of specified LED luminaires was used throughout the project, employing the same LED lamp for different types of downlight to unify the colour temperature while allowing a more simple installation and maintenance process for all those involved. The One is a unified space of differing parts and the fact that there is a sense of togetherness running throughout it is surprising, given the vastly different nature of the interlocking parts. The lighting design plays its part to hold this project together in a seamless fashion. www.fireflylightingdesign.com

verteilen. Das Design im Tapasbereich Tapagria verwen-

are l’ opera d’arte, la Firefly ha anche scelto di utilizzare

comendó trabajar a lo largo de todo el proyecto del piso

det wertvolle Materialien und das Beleuchtungskonzept

dei fari a LED a fascio stretto 8W MR16 da 28 ° e da 36 °

18 y se utilizaron artefactos Megaman. En La Zurriola, la

verschafft Kontraste durch die Betonung von Merkmalen

della Megaman per evidenziare le etichette delle bottiglie

experiencia gastronómica temática española en The One,

In der 18. Etage des größten Geschäftskomplexes von

wie den DJ-Stand, der in einen Lichthof eingetaucht wird,

di vino nelle cantine. Il ristorante giapponese Kyo-Shun

se realizó una atracción en el exhibidor de vinos desde el

Hongkong liegt The One, einer kulinarischen ‘drei-in-ei-

sowie die animierten Feature-Wände mit Wassereffekten.

dispone di una grande quantità di pareti ruvide, che dis-

piso al techo. Al utilizar la tecnología de lámparas 10W

nem’-Erfahrung. Firefly Lighting Design wurde beauftragt,

Ebenso wurden diese subtilen Lichtreihen um die Bar

perdono la luce creando un effetto incredibile. Il design

LED AR111 de Megaman para iluminar la obra de arte,

das gesamte Projekt der 18. Etage zu bearbeiten und

herum und in der offenen Küche platziert.

per l’area di tapas, Tapagria, prevede materiali ricchi e

Firefly también optó por utilizar 8W MR16 28° de Megaman

il sistema di illuminazione crea contrasto accentuando

y lámparas reflectores LED angostas de 36° para resaltar

caratteristiche quali la cabina del DJ, che è immersa in un

las etiquetas de las botellas en los estantes de los vinos.

alone di luce ed è caratterizzata dalla parete dall’effetto

Kyo-Shun, el restaurante japonés, ofrece una gran canti-

DEUTSCH

Megaman-Beleuchtungskörper wurden pauschal verwendet. Im Zurriola, dem spanischen Themenbereich im The One, wurde aus der Weinauslage, die vom Boden bis zur

ITALIANO

Decke reicht, ein besonderes Merkmal gemacht. Firefly ver-

Posto al 18 ° piano del complesso commerciale più alto

acqua animata. Queste sottili linee di luce sono state an-

dad de efectos en las paredes, que dispersan la luz a lo

wendete die 10W LED AR111 Lampentechnologie von Me-

di Hong Kong, The One è un’ esperienza culinaria “tre in

che collocate intorno al bar e alla cucina a vista.

largo de las superficies de la pared para lograr un golpe

gaman für die Beleuchtung des Kunstwerks und entschied

uno”. Alla Firefly Lighting Design è stato commissionato

sich ebenfalls für 8W MR16 28° und 36° eng gebündelte

l’intero progetto del 18 ° piano, utilizzando gli allestimenti

LED-Reflektorlampen von Megaman für die Betonung der

della Megaman . Nel Zurriola, l’esperienza culinaria a tema

Flaschenetiketten in den Weinregalen. Kyo-Shun, das japa-

spagnola, è stato modificato il pavimento per permettere

Ubicado en el piso 18 del complejo de tiendas minoris-

del DJ que está bañada en un halo de luz y animada con

nische Restaurant, verfügt über zahlreiche Streiflichter,

di mostrare il vino dal soffitto. Utilizzando la tecnologia

tas más alto de Hong Kong, The One, es una experiencia

paredes con efecto de agua. Estas sutiles líneas de luz

die das Licht über die Wandfläche für dramatische Effekte

della lampada a LED 10W AR111 di Megaman per illumin-

gastronómica única. A Firefly Lighting Design se le en-

han sido ubicadas alrededor del bar y de la cocina abierta.

ESPAÑOL

de efecto. El diseño para la zona de las tapas, Tapagria, utiliza materiales ricos y el proyecto de iluminación ofrece un contraste acentuando características como la cabina

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094

PROJECT / WGV CASINO AND GUARDHOUSE, STUTTGART, GERMANY

THE SONG OF LUNCH The WGV Casino and Guardhouse is a gift from employee to employer, a social space and canteen for the use of the insurance firmâ&#x20AC;&#x2122;s staff. Pfarre Lighting Design developed a lighting scheme which embraced the differing styles of the buildings concerned.

095

All firms claim to have a high regard for their staff, but German insurance company WGV have put their money where their mouth is. The organisation has created a ‘gathering area’, a relaxed space at their headquarters in Stuttgart, to be used by their employees as both a self-service cafeteria and a space for special events. The set up of the structure posed a number of challenges for lighting consultants Pfarré Lighting Design. The topography of the site is particularly interesting and features three terraced levels in the casino section of the structure and the garden. Further to this, the newer area of the site is adjacent to the ‘Old Guardhouse’, a protected historic building. The casino section of the site, which holds the self-service cafeteria, features a threetiered ceiling, the heights varying from

096

PROJECT / WGV CASINO AND GUARDHOUSE, STUTTGART, GERMANY

At one side of the cafeteria in the casino area of the project an eyecatching and colourful artwork has been created on the sides of the three ceiling slabs with long skylights in between, enhancing the architectural concept, while helping to create an informal atmosphere for a relaxing lunch.

12 feet to 13.5 feet. Skylights have been installed in between each new step of the ceiling, running the length of the entire 3,767-square-foot cafeteria area. Pfarré Lighting Design carefully considered the differing architectural style of the buildings and the changing detail of both structures and, in close consultation with the architects, began to develop a lighting design. The agency decided not to push any one particular lighting element to the fore, with the one exception of a group of impressive looking octahedron shaped pendants, designed especially by Lichtlauf Munich, for the events space in the Old Guardhouse. In this older section of the site, unlike in the main seating area where luminaires are not

JAPANESE 今回照明を担当したPfarré Lighting Design にとって、この構造様式は無理難題とも言えるものだった。 Lichtlauf Munichが特別にデザインした、同じ建物のより古いOld Guardhouseの部分に使用されている複数の独創的な8面体シャンデリア以外に照明器具は指定されておらず、建物の中でも座席区域はユニークな多層構造の天井となっているため、取り組みには多大なエネルギーを要した。この部分の照明には、 10ワット相関色温度3000K のLEDバッフル式天井システムが特別に考案された。バッフルとバッフルの間に作られた正方形の枠に埋め込まれたLEDスポットライトがテーブルを直接照らす。天井の新しい段の間にそれぞれ天窓が配置された。ひな段式の

seen, the octahedral form of the customdesigned dimmable fluorescent pendant luminaires in three different sizes are celebrated. The unusual makeup of the multi-tiered casino roof in the main seating area meant that this part of the project had to be approached with verve. To light this part of the project a custom 10W 3000K LEDbaffle ceiling system was developed in close co-operation with architects and acoustic planners, ensuring a smooth, indirect, ambient lighting solution was developed, despite the difference in ceiling heights across the room. In between the baffles, LED spotlights in square housings provide direct lighting onto the tables. Along the fascia of the centre ceiling

庭に部屋側の高さの違う天井が重なり、あたかもつながっているような視覚効果を演出している。このエリアを分割するコンクリート製の平板と植栽を線状アップライトが照らし出し、 Old Guardhouseのファサードには柔らかなウォールウォッシャ照明が取り付けられた。

CHINESE 贾特拉帕蒂·希瓦吉国际机场是印度第二该结构的构造给照明顾问 Pfarré Lighting Design 提出了一系列挑战。该机构决定不突出任何一个特定的照明元素，除了一组富丽堂皇的八面体状吊坠，它主要由 Lichtlauf Munich 设计，用于该建筑中更具年代性的老卫兵室。在该建筑的主要座位区，上方的屋顶层次多样、构造新

slab, panels of artwork in shades of red, magenta, and purple wash reflected colour into the space adding another set of hues into the mix. An LED strip has been installed on the opposite side of the skylight in order to increase this feature’s effect in the evenings. Apart from the effect of the direct lighting, the reflection of this illuminated artwork creates a very pleasant and smooth gradient of colour on the architectural surfaces, creating a treat of colour that changes and alters depending on the position of the viewer. These were executed with dimmable fluorescents, in three different dimensions. Next to the cafeteria and open seating area

颖，以致工程的这部分极具气魄。为了照亮这部分，设计者开发了定制的 10W 3000K LED--挡板天花板系统。在挡板之间，LED 聚焦灯透过方形壳体直射到桌面。天花板的每一层新梯级之间都安装了天窗。花园露台在视觉上延伸了室内。利用线性向上照明放大该区域，映衬出混凝土板和植被，而老警卫室的门面则采用了柔和的洗墙灯光

FRANÇAIS La mise en place de la structure a posé un certain nombre de défis aux conseillers en éclairage de Pfarré Lighting Design. L’agence a décidé de ne mettre en avant aucun élément d’éclairage en particulier, à la seule exception d’un groupe de pendentifs impres-

sionnants de forme octaèdre, spécialement conçu par Lichtlauf Munich et utilisé dans l’ancien « Vieux Poste de Garde » de l’immeuble. La composition inhabituelle du toit à plusieurs niveaux du salon principal du casino explique que cette partie du projet a dû être abordée avec brio. Un système de plafond avec chicanes fait sur mesure et utilisant des D.E.L. de 10 W 3000K fut développé afin d’illuminer cette zone du projet. Entre les chicanes, des projecteurs encastrés à diodes électroluminescentes prodiguent un éclairage direct sur les tables. Des puits de lumière ont été installés entre chaque nouvelle partie du plafond. Les jardins en terrasses servent d’extension visuelle au casino intérieur. Des projecteurs linéaires divisant les dalles en béton et la végétation mettent en valeur le lieu, tandis qu’une douce lumière lèche les murs de la façade du Vieux Poste de Garde.

ANOLIS - inzerce_3 produkty_(format_236 x 333_mm).pdf 23.9.2014 15:17:36

CMY

098

PROJECT / WGV CASINO AND GUARDHOUSE, STUTTGART, GERMANY

Above left LED-baffles have been developed to provide smooth indirect ambient lighting for the casino. In addition, custom made LED-spotlights provide direct light for the tables. Below left In the Guardhouse, custom-made pendant luminaires float in a random fashion through the event space. Right The separate entrance to the old guardhouse, the oldest part of the building, offering access to the public for special occasions.

is the Old Guardhouse. A series of stylish garden terraces and ramped walkways connecting old and new while inground uplights illuminate the trees. The terraced gardens act as a visual extension of the interior casino. This architectural composition is enhanced by linear uplighting for the dividing concrete slabs and vegetation, this is provided by WEEF in-ground uplights as well as custom made linear inground LED luminaires by Lichtlauf. A soft wallwash was also developed for the Old Guardshouse‘s facade, using WEEF inground wallwashers, surface mounted wall luminaires from BEGA and wall recessed floor washlights from ERCO. Balanced lighting levels, both horizontal and vertical, support this spatial approach and create an enjoyable outdoor atmosphere. The lighting designers worked closely with

the architects and acousticians to provide an overall lighting scheme that provides a discernible light quality, without, for the most part, drawing the eye to the fixtures. Yet when fixtures have been installed to do just that, in the Old Guardhouse, the fixtures used are creative and beautiful to look at. Seemingly simple, but certainly not, this skillful lighting design unites three distinctive, but connected, spaces, while celebrating the very essence of light itself. www.lichtplanung.com

PROJECT DETAILS WGV Casino and Guardhouse Client: Württembergische Gemeinde-Versicherung a.G Architect: Hascher Jehle Architektur, Berlin Lighting Design: Pfarré Lighting Design

LIGHTING SPECIFIED Outdoor, inground uplight: WEEF – ETC130-GB [M] Outdoor, surface mounted adjustable spotlight: BEGA Outdoor, inground wallwasher: WEEF – ETC130 [A] Outdoor, linear inground LED-luminaire: custom made by Lichtlauf, Munich Outdoor, surface mounted wall luminaire: BEGA Outdoor, wall recessed floor washlight: ERCO – Visor III Pendants, Old Guardhouse: custom made by Lichtlauf, Munich Ceiling recessed luminaire, double light: FLOS – Compass Box Recessed Wallwasher, ceiling reccesed: ERCO – Quintessence Accoustically effective lamellar element incl. LED-uplight and LED-spotlight, Casino: custom-made by Lichtlauf, Munich Linear LED-luminaire, illumination of artwork, Casino: KORONA Wall luminaire, surface mounted, double light: FLOS – Compass Box Gimbal mounted spotlight, ceiling recessed: ERCO – Gimbal Linear lighting system, recessed: XAL – Minimal 60 Deep recessed LED spotlight, conference room: ACDC – Azeta Round Adjustable Linear LED luminaire, ceiling recessed, conference room: Selux – M60 Linear Modul Pendants, entrances: custom-made by Lichtlauf, Munich Downlights, ceiling recessed: ERCO – Quintessence Tubular ceiling mounted luminaire – Artemide Ourea

wurden zwischen jeder neuen Dachstufe installiert. Die

del salotto principale, ha fatto sì che questa parte del

elemento de iluminación en particular, con la excepción

terrassenförmigen Gärten agieren als visuelle Erweiter-

progetto fosse affrontata con verve. Per illuminarla è

de un grupo de impactantes colgantes con forma de oc-

ung des Innenbereichs des Casinos. Dieser Bereich wird

stato sviluppato un sistema a soffitto personalizzato di

taedro, diseñados especialmente por Lichtlauf Munich

Der Aufbau der Struktur war eine große Herausforderung

durch linienförmige Deckenfluter betont, um Betonplat-

riflettori a LED da 10W 3000K. Tra i riflettori, i faretti a

utilizados en el viejo sector de Old Guardhouse del ed-

für die Lichtplaner Pfarré Lighting Design. Die Agentur

ten und die Vegetation voneinander zu trennen, während

LED, posti in alloggiamenti quadrati, forniscono l’ illumi-

ificio. La inusual construcción del techo del casino con

beschloss, kein spezifisches Beleuchtungselement mit

eine sanfte Wandanstrahlung für die Fassade des alten

nazione diretta sui tavoli. I lucernari sono stati installati

varios niveles en la zona principal de los asientos sig-

Ausnahme einer Gruppe von beeindruckend aussehenden

Wachhauses entwickelt wurde.

tra ogni nuovo strato del soffitto ed i giardini terrazzati

nificó que esta parte del proyecto tuviera que ser enfren-

fungono da estensione visiva del casinò interno. Questa

tada con ímpetu. Para iluminar esta parte del proyecto se

zona è arricchita da faretti lineari che diffondono la luce

desarrolló a medida un sistema 10W 3000K LED-baffle

dal basso per creare una divisione tra il cemento e la

en el cielorraso. En medio de estos, los focos de LED en

DEUTSCH

oktaederförmigen Hängeleuchten, die speziell von Lichtlauf München entworfen worden sind und die im älteren Wachhausbereich des Gebäudes verwendet werden, in

ITALIANO

den Vordergrund zu stellen. Der ungewöhnliche Aufbau

Il set up della struttura ha posto una serie di sfide per

vegetazione, mentre un wallwasher soffuso è stato elab-

cajas cuadradas ofrecen iluminación directa sobre las

des mehrstufigen Casinodachs in der Haupt-Sitzecke

i consulenti di illuminazione Pfarré Lighting Design.

orato per la facciata dell’ Old Guardhouse.

mesas. Se instalaron tragaluces entre medio de cada

bedeutete, dass dieser Teil des Projekts voller Elan zu

L’agenzia ha deciso di non esaltare nessun elemento in

bearbeiten war. Für die Beleuchtung dieses Teils des

particolare dell’ illuminazione, con la sola eccezione di un

Projekts wurde ein kundenspezifisches 10W 3000K

gruppo di imponenti ciondoli a forma di ottaedro (proget-

LED-Schallwand-Deckensystem konzipiert. Zwischen den

tati appositamente da Lichtlauf Munich e utilizzati nella

La puesta de la estructura planteó una cantidad de

hacia arriba para las losas de concreto divisorias y la

Schallwänden verschaffen LED-Strahler in eckigen Ge-

vecchia parte dell’edificio Old Guardhouse). L’insolita

desafíos para los consultores en iluminación Pfarré

vegetación mientras que se desarrolló un reflector suave

häusen direkte Beleuchtung auf die Tische. Oberlichter

composizione del tetto multistrato del casinò, nella zona

Lighting Design. La agencia decidió no impulsar ningún

para la fachada de Old Guardhouse.

ESPAÑOL

nuevo escalón del cielorraso. Los jardines aterrazados actúan como una extensión visual del interior del casino. Esta zona es resaltada por iluminación lineal orientada

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30/04/2012 13:43

100

PROJECT / THE COMMONWEALTH PARK, GIBRALTAR

MODERN ROCK David Atkinson Lighting Design has delivered a contemporary scheme for the new Commonwealth Park on Gibraltar, blending traditional British values with mediterranean style.

101

Pic: David Parody

102

PROJECT / THE COMMONWEALTH PARK, GIBRALTAR

The Commonwealth Park in Gibraltar is a former car park site that has been transformed into a sustainable park, boasting both traditional British values and a ‘cutting edge’ Mediterranean style. The park has 135 different trees, as well as lakes, grass mounds and decking areas, with the dramatic historic backdrop of the King’s Bastion and City walls. David Atkinson Lighting Design (DALD) worked closely alongside the landscape architects, Landform, to create an exciting but subtle lighting scheme for the park, as well as adhering to conservation requirements, security, energy efficiency and sustainability. The historic perimeter walls consist of the curved King’s Bastion Wall and City Wall. The curved King’s Bastion Wall to the north end of the site is up lit by a series of buried fixtures fitted with a tiltable medium and narrow beam optic, which helps to accentuate the contours of the stone and form. A 4000K LED light source was chosen to enhance the colour of the grey stone. The angular City Wall linking with the curved King’s Bastion wall to the north, east and south elevations are lit by a series of surface mounted, high output, narrow optic spots, which graze the wall with shafts of light. The LED spots are positioned directly below the city wall and aligned with the wall piers. The upper terrace above the City Wall is linked to the park via a listed link tunnel, contemporary staircase and lift. To limit any visual impact within the tunnel two internally illuminated handrails provide sufficient light to the floor. The illuminated handrails continue from the tunnel to the external staircase that encompasses the lift shaft. To help give the lift shaft a dynamic appearance, a series of RGBW LED sources up light the internal glass shaft with preprogrammed hues of colour. The park has a perimeter roadway/walkway, which is illuminated by compact LED fixtures fitted with 3000K sources, which are mounted off 3.5m vertical columns. Some

Pic: David Parody

The new Commonwealth Park is bound by tall, historic walls. These are grazed by surface mounted, iGuzzini Large body iPro fixtures along the main City wall, and inground fixtures along the curved Bastion wall (pictured top right). Inside the park space, key elements like the contemporary bandstand and ‘monolithic column’ water feature are given special lighting solutions. DALD chose a limited number of sources in picking out key areas within the park, with the planting subtly modelled by single point sources.

Pic: Moses Anahory

103

Pic: Moses Anahory

104

PROJECT / THE COMMONWEALTH PARK, GIBRALTAR

of the vertical columns increase in height to 5.5m in order to accommodate high output LED accent fixtures that illuminate sculptural pieces. A link walkway from the west side of the park is illuminated by semi recessed marker lights, which helps to set up an interesting view into the park. As a part of the intrinsic landscape design internal tertiary paths weave through the park. Illumination of the tertiary paths are by minimalistic tubular bollards fitted with T5 lamps, with a colour temperature of 4000K. Each bollard is offset along the length of the path which helps define the flowing landscape design. To the north and south of the park there are decking areas that incorporate adjustable recessed LED fixtures. The fixtures up light Magnolia grandiflora shrubs from one side and are fitted with warm white LED (3000K), which help to offset the shrubs against the city wall. Throughout the park, seating benches are under lit by recessed LED strips, which project a soft diffused glow under the benches. The central area within the park consists of perimeter planting, benches and monolithic water feature columns. Each monolithic column is fitted with a recessed custom IP68 LED ring that accentuate the water flow by piping the water through the centre of each fixture. In addition to the integral lighting, recessed IP68 fixtures up light each monolithic column. Positioned within the catchment pool, they reflect and refract light across the column faces. An artificial lake is subtly illuminated by submerged IP68 fixtures, which pick out rock and water features. A link bridge across the lake is lit by miniature recessed decking lights, which help to accentuate the form of the bridge. A contemporary bandstand is built out into the lake and features a tensile roof, which is up lit by RGBW LED sources and

JAPANESE ジブラルタルのCommonwealth Parkは以前、駐車場として使われていたが、イギリスの伝統的価値観と現代地中海のスタイルを融合した地球にやさしい公園へと生まれ変わった。 David Atkinson Lighting Designが造園デザインを手掛けるLandformと力をあわせ、この公園のために作り上げたのは、刺激的でかつ繊細でありながら、環境規制と安全基準を満たした、エネルギー効率の高い持続可能な照明プラン。史跡である外壁は曲線状のKing’s Bastion Wall と City Wallから。公園北端に延びる King’s Bastion Wallは角度調整可能な中サイズのナロー配光のビーム光線を装着し、地面に埋め込まれた一連の照明によって照らし出される。壁の色を強調するために選ばれたのは相関色温度4000度のLED光源。起伏

BAND STAND Four Teclumen RGBA Fusion positioned off angled supports units require data (DMX) cabling and power.

STAIRS Metamount internally illuminated handrail LIFT Teclumen RGBA Fusion position within lift shaft - units require data (DMX) cabling + power. Four mounted at bottom of shaft

MONOLITHIC COLUMNS MJL LED Ring set within the varying height monolithic columns. Custom IP68 fixtures will accentuate the water flow by piping the water through the centre of the fixture. Ares buried Tapioca LED 10º set into soak away base. Fixtures require remote IP rated drivers.

のあるしたCity Wallを照らすのは、表面に装着された一連のハイパワー薄型光学LEDスポットライトの光線によるグレージング照明。広大な芝生には斑模様の光が投影され、あたかも林の間を通る月光が映し出されているよう。モダンな野外ステージの屋根には伸張性があり、照明には4色LEDライトが使用されている。

CHINESE

堡垒墙和城墙。国王堡垒墙一直延伸到公园的最北端，由一系列埋灯具点亮，埋灯具则设有可倾斜媒介和窄束光，进一步映衬出石头的轮廓。4000K LED 光源则被用来增强颜色亮度。至于菱角分明的城墙，它是由一系列装在表面的高输出、窄视 LED 光点照亮，其光柱掠过墙面，甚是好看。草地则被大面积投射光照亮，如月光透过树木般，光影斑驳。RGBW LED 光源照亮了一个具有可拉伸屋顶的当代舞台。

位于直布罗陀的联邦公园，其前身是个停车场，现已演变成了一个可持续发展的公园，融合了传统的英国价值观念和当代地中海风格。David Atkinson Lighting Design 与景观建筑公司 Landform 紧密合作，为公园设计了一个激动人心且十分精细的照明方案，坚持追求节能需求、安全性、能源效率和可持续发展。历史悠久的围墙包含两部分：弯曲的国王

Au stade du Commonwealth de Gibraltar, un ancien parking fut transformé en un parc durable, alliant les valeurs traditionnelles britanniques et un style méditerranéen contemporain. L’équipe de David Atkinson Lighting Design a travaillé en étroite collaboration avec les archi-

FRANÇAIS

tectes-paysagistes de Landform afin de créer un ensemble d’éclairage passionnant, mais subtil pour le parc, s’adaptant aussi aux exigences de conservation, de sécurité, d’efficacité énergétique et de durabilité. Le Bastion du roi et les murailles de la ville marquent le périmètre historique. Le Bastion du roi à l’extrémité nord du site est éclairé vers le haut par une série d’appareils enterrés et équipés de faisceaux optiques moyens et étroits inclinables, qui accentuent les contours de la pierre. Le choix d’une source de lumière D.E.L. de 4 000 K renforce sa couleur. La muraille angulaire de la ville est éclairée par une série de projecteurs à diodes luminescentes à optique étroite de haut rendement, montés en surface et qui effleurent le mur de puits de lumière. De grandes étendues d’herbe sont éclairées d’une lumière tachetée, imitant l’effet de la lune à travers les arbres. Le toit tendu du kiosque à musique moderne est éclairé de diodes électroluminescentes RVBB.

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PROJECT / THE COMMONWEALTH PARK, GIBRALTAR

PROJECT DETAILS The Commonwealth Park, Gibraltar Client: Government of Gibraltar Landscape Architect :Landform Lighting Design: David Atkinson Lighting Design (DALD) - David Atkinson, Pedro Pinto.

LIGHTING SPECIFIED

Pic: Moses Anahory

iGuzzini: 9 x Light Up Walk with double adjustment / flood optic 28° / warm white 29 x Light Up Walk with double adjustment / flood optic 28° + narrow optic 10° / cool white 2 x Light Up Walk with double adjustment / narrow optic 10° / cool white 35 x iTeka 24W warm white, complete with special bracket to fix to 3.5m & 5.5m column 45 x iPro large body narrow optic 15° 27w / cool white 2 x iPro large body narrow optic 15° 27w / warm white 13 x iPro medium body medium optic 28° 18w / warm white 16 x Light Up Balisage 20w hit 95 x Pencil - cylindrical bollard with electronic control gear for single emission Aldabra supplied by Lighting Assist: 43 x Aldabra T4 inground recessed strip 203CM

Pic: Moses Anahory

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Large expanses of grass are lit by projecting dappled light, which effectively mimics the effect of moonlight through trees. The dappled effect is created by a series of metal halide projectors attached to the top of the perimeter lighting columns.

programmed in with the lift shaft to reflect dynamic hues of colour across the bandstand and lake. Large expanses of grass are lit by projecting dappled light, which effectively mimics the effect of moonlight through the trees. The dappled effect is created by a series of metal halide projectors attached to the top of the perimeter lighting columns. The general lighting to planting, shrubs and trees was achieved by a variety of lighting methods. DALD chose a limited number of sources in picking out key areas within the park, with the planting subtly modelled by single point sources. Large trees and shrubs were either up lit by buried LED sources or externally lit from a distance by ground

DEUTSCH Für den Commonwealth Park in Gibraltar wurde das ehemalige Gelände eines Parkplatzes in einen nachhaltigen Park verwandelt, der traditionelle britische Werte mit einem zeitgenössischen mediterranen Stil vereint. David Atkinson Lighting Design arbeitete eng mit den Landschaftsarchitekten von Landform zusammen und hat ein sowohl interessantes wie auch subtiles Beleuchtungskonzept für den Park entwickelt, das Anforderungen in Bezug auf Bestandserhaltung, Sicherheit, Energieeffizienz und Nachhaltigkeit entspricht. Die historischen Außenmauern bestehen aus der bogenförmigen King’s Bastion Wall und der Stadtmauer. Die King’s Bastion Wall zum nördlichen Ende des Geländes wird durch eine Reihe von vergrabenen Beleuchtungskörpern beleuchtet, die mit einem kippbaren Träger und einer enggebündelten Optik befestigt sind, wodurch die Konturen des Steins besser betont werden können. Eine 4000K LED-Lichtquelle wurde zur Verstärkung der Farbe

spike mounted projector fittings positioned within the planting. A warm 3000K colour temperature was chosen to enhance the greenery and off set the planting and trees from the coolness of the King’s Bastion and City Wall. Control of the lighting within the park is triggered via photocells that in turn activate lighting scenes from the control system. A basic lighting state with limited sources is activated at midnight for access and security. Through the combination of creative lighting methods it enables the park to become an exciting, dynamic and safe space after dusk. www.dald.co.uk

ausgewählt. Die winkelförmige Stadtmauer wird durch eine Reihe von obenflächenmontierten, leistungsstarken engen Optik-LED-Spots beleuchtet, die die Wand mit Lichtbündeln touchieren. Große Rasenflächen werden mit einem projektierten, sanften Lichtmuster beleuchtet, das den Effekt von Mondlicht durch Bäume nachahmt. Ein moderner Konzertpavillon mit einem Spanndach wird durch RGBW LED-Quellen beleuchtet.

ITALIANO Per il Parco del Commonwealth a Gibilterra, un ex parcheggio è stato trasformato in un parco sostenibile, coniugando i valori tradizionali inglesi con uno stile mediterraneo contemporaneo. David Atkinson Lighting Design ha lavorato a stretto contatto con i paesaggisti (Landform) per creare un sistema di illuminazione entusiasmante ma sottile per il parco, così come per aderire alle esigenze di conservazione, sicurezza, efficienza energetica e sostenibilità.

Ares supplied by LIGHTWORKS: 22 x Tapioca buried LED 10° 16 x Maxi Martina IP68 underwater fixture 9 X 1W - 35° 21 x Idra 9 X 1W - 35° Concept Light supplied by Lighting Assist: 9 x CL Gobo Projector 150W HUNZA supplied by Light Ideas: 158 x Anti-tamper Hunza adjustable spike + GU10 LED 7W 3K 28 x P1 Path Lite LED Metamont supplied by Lighting Assist: 5 x LED illuminated handrail MJ Lighting: 13 x custom recessed 1P68 160MM ring set into monolithic column TECLUMEN supplied by Lighting Assist: 8 x Teclumen Fusion Color 6 FC RGBW PHAROS supplied by Lighting Assist: 1 x LPC control system Osram Lamps : 95 x T5 14w 840 Philips Lamps 9 x150w CDM-T 3000K 16 x 20w CDM-TM 3000K

I muri storici perimetrali sono costituiti dei curvi King’s Bastion Wall e City Wall. Il King’s Bastion Wall, situato a nord nella parte finale della città, è illuminato da una serie di apparecchi interrati dotati di un supporto inclinabile e a stretto fascio ottico, che aiuta ad accentuare i contorni della pietra. Una sorgente di luce a LED da 4000K è stata scelta per esaltarne il colore. L’angolare City Wall è illuminato da una serie di faretti a LED a fascio di luce stretto che montati in cima, scalfiscono il muro con raggi di luce. Delle grandi distese di erba sono illuminate con luce proiettata in modo variegato, simulando l’effetto del chiaro di luna attraverso gli alberi; invece un palco contemporaneo con tetto di trazione è illuminato da sorgenti LED RGBW.

ESPAÑOL El Commonwealth Park en Gibraltar, que solía ser una playa de estacionamiento, ha sido transformado en un parque sustentable, mezclando los valores tradicionales

Británicos con un estilo Mediterráneo contemporáneo. David Atkinson Lighting Design trabajó de cerca junto con los arquitectos paisajistas, Landform, para crear un espectacular pero sutil proyecto de iluminación para el parque, a la vez que se ajustaban a los requisitos para la conservación, seguridad, eficiencia energética y la sustentabilidad. Las históricas paredes perimetrales son las del Bastión del Rey y el Muro de la Ciudad. El Bastión del Rey, hacia el norte del sitio, está iluminado en la parte superior por una serie de artefactos empotrados, equipados con un rayo óptico ajustable, mediano y angosto. Para resaltar su color se eligió una fuente de luz LED de 4000K. El angular Muro de la Ciudad está iluminado por una serie de spots de LED de alta potencia de salida montados sobre la superficie, los cuales dibujan el muro con rayos de luz. Las grandes extensiones de césped son iluminadas con luz proyectada moteada, imitando el efecto de la luz de luna a través de los árboles. Una glorieta contemporánea con techo extensible se encuentra iluminada con fuentes RGBW LED.

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PROJECT / FINCH AVENUE OPTOMETRY, TORONTO, CANADA

LIGHTING SPECS Bringing their sharp vision to the creation of an optomotrist in North Toronto, Bortolotto have woven together sculptural architecture with layered lighting to produce an eye-catching, modern scheme.

All pics: Tom Arban

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PROJECT / FINCH AVENUE OPTOMETRY, TORONTO, CANADA

When Finch Avenue Optometry first approached architectural practice Bortolotto in 2012 their brief was clear: to design a new premises that would express the practices commitment to both high quality eye care and contemporary style. In response, the Toronto-based architects created a visually stunning interior, modern and clinically sharp while at the same time fulfilling the functional requirements of a busy optometrists. Bortolotto’s concept plays on themes of contrast, perception, light and the rounded shape of the eye. The newly built premises at 244 Finch Avenue West is a black-brick structure with a rolling art deco curve to its façade, a shape and style that is echoed and inverted within. The interior is a luminous white, accented by sparkling black details. The heart of the venue is a 2,260 square foot, double-height retail showroom and waiting area that sits directly behind the building’s curved corner. Its upper story is cut with a band of windows that draw daylight into this showroom space. Entering the showroom, clients are immediately drawn to a prominent ocular ceiling feature. Inspired by the mechanics of the eye and depth of field perception, eight concentric rings cascade downwards, each defined by concealed white Senso Lighting LED strips. At its lowest point, the chandelier culminates in a mirrored centre, representing the pupil of an eye, while its uppermost ring has been given a blue hue by Senso RGB strips. The cool blue emphasises the sculptural form of the lower rings, which give the space an organic presence, while also illuminating the interior. The ceiling is also visible through the tall

Top In lieu of artwork, a sculptural ceiling element offers visual interest and the glamour of a chandelier. Inspired by the mechanics of the eye and depth of field, it comprises eight concentric rings that cascade downwards, each defined by recessed white RGB LED lights, culminating in a mirrored center like the pupil of an eye.

JAPANESE Finch Avenue Optometryが2012年に初めてBortolottoと対峙したとき、すでにFinch Avenue Optometryがその信念として高品質なアイケアとモダンなスタイルを両立するデザインを求めていることは明らかだった。その思いにこたえ、トロントを拠点とする建築家たちが作り上げたのは、現代的で臨床的にも高性能、かつ多忙な検眼医の要求を満たす機能性を併せ持つ、見事な内装である。ショールームに足を踏みいれたとたん、顧客は天井埋め込まれた一際目立つ接眼レンズに目を奪われる。眼球の仕組みと視界の奥行の概念を具現化したデザインで、中心に向かい下に向かって流れ落ちる8つのリングそれぞれが Senso Lightingの白いLEDテープライトの間接照明で縁取られている。下部リングの彫刻を強調する涼やかな青色は、空間に有機的な

雰囲気を与え店内を照らす。天井は店舗ファサードの背高窓を通して外からも見えるため、道行く人をの注目を集め、店舗の高級感を高める効果がある。

CHINESE 芬治大道验光中心在 2012 年首次接触到 Bortolotto 建筑实践，那时他们的定位就是：要设计出一个新的经营场所，力求体现他们对高质量眼部护理和现代化风格的追求。为了满足这个要求，多伦多的建筑师打造了一个极具视觉冲击力，且非常符合临床科学规律的现代化室内设计，同时又能满足忙碌的验光师的功能性需求。走进展示厅，客户立刻被亮眼的眼睛式天花板所吸引住。设计师的灵感来源于眼部结构和视野深度，将八个同心环向下串联起来，每个同心环都用隐蔽的白色 Senso

Lighting LED 灯带映衬。在最低点，枝形吊灯的顶端是一个镜像的中心，代表眼睛的瞳孔；相对最高的那个环用的是蓝色 Senso RGB 灯带。在清澈的蓝色灯带的衬托下，下面几个环的轮廓显得更加突出，这让整个空间看起来非常自然形象，同时能照亮整个室内。透过建筑物正面的高窗，整个天花板依旧清晰可见，吸引了行人的视线，也提升了实践的高端性。

FRANÇAIS Lorsque les dirigeants de Finch Avenue Optometry approchèrent le Cabinet d’architectes Bortolotto en 2012, leur cahier des charges était clair : concevoir un nouveau magasin qui exprimerait l’engagement de la profession à offrir des soins oculaires de grande qualité dans un cadre contemporain. Dans cette optique, les architectes de Toronto ont créé un intérieur visuellement super-

be, moderne et cliniquement haut de gamme, tout en répondant aux exigences fonctionnelles d’un opticien très actif. En entrant dans le magasin, le regard des clients est immédiatement attiré vers une remarquable animation visuelle au plafond. S’inspirant du fonctionnement de l’œil et de la profondeur de perception du champ visuel, huit anneaux concentriques se fondent en cascade, chacun défini par de discrètes bandes de diodes électroluminescentes blanches Senso Lighting. À son point le plus bas, le lustre présente un centre en miroir, représentant la pupille de l’œil, tandis que l’anneau le plus élevé s’illumine d’une bande à teinte bleue Senso RVB. Le bleu froid accentue la forme sculpturale des anneaux inférieurs, qui donnent à l’espace une présence organique, tout en éclairant l’intérieur. Le plafond est également visible à travers les hautes fenêtres de la façade, attirant ainsi le regard des passants et renforçant l’identité haut de gamme du magasin.

12/05/2014

13:32

CHEME TH S E E E AT W S E

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PROJECT / FINCH AVENUE OPTOMETRY, TORONTO, CANADA

Above left The curved corner window reveals the ocular-inspired lighting feature, drawning the attention of passers-by. Above right Strips of Senso flexible LED strip lighting gives the display shelves a unified, uncluttered look, allowing the diffent eyewear ranges to stand out.

windows of the façade, creating a visual draw for passers-by and strengthening the practice’s high-end identity. Tania Bortolotto, Principal at Bortolotto, explains that this centrepiece is essential to the success of the space. “The lighting at the interior feature element is directly integrated into the architecture as a sort of inverted light house drawing interest and impact to the retail space,” she says. “Without this light there is no architecture.” The displays that run along the walls of the showroom all maintain a clean and cohesive appearance, despite the daily shuffle of product or change of merchandise. The shelves are designed to unify their contents so that the shapes, sizes and colours of the glasses never overwhelm clients. The main wall of the curved showroom space is lined by custom-fitted, white lacquer shelving. More Senso LED strip lighting, recessed into the underside of each shelf, provides a clean pure light, with more general illumination coming from Delta Light

DEUTSCH Als Finch Avenue Optometry das Architekturbüro Bortolotto 2012 zum ersten Mal kontaktierte, war der Auftrag klar: die Projektierung eines neuen Firmengeländes, welches ihr Engagement für qualitativ hochwertige Augenpflege und zeitgemäßen Stil zum Ausdruck bringen soll. Als Antwort darauf kreierten die in Toronto ansässigen Architekten eine optisch erstaunliche, moderne und klinisch klare Innenausstattung und erfüllten gleichzeitig die funktionellen Anforderungen eines geschäftigen Optometristen. Beim Betreten des Showrooms werden die Kunden direkt auf ein herausragendes okulares Deckenmerkmal hingewiesen. Inspiriert durch den Augenmechanismus und die Tiefe der Feldwahrnehmung fallen acht konzentrische Ringe in Kaskaden herunter, jeder wird durch verdeckte weiße Senso Lighting LED-Streifen definiert. Am tiefsten Punkt gipfelt der Kronleuchter in eine gespiegelte Mitte, die die Pupille eines Auges repräsentiert, während der

Minigrid trimless downlights. The adjacent sunglasses display comprises rows of glass shelving backlit by I2 Systems LED wallgrazers to produce a brighter area, suitable for trying out the sunglasses on offer. The new premis opened its doors in summer 2014 and has proved a success for both clients and staff. “Patients come in and are pleasantly surprised at the openness, the brightness, and the clean look and feel of the space,” notes Finch Avenue Optometry’s Dr. George Papadakis. “I have had comments like ‘It feels like a museum’ and ‘I never would have expected it to look like this on the inside’. I think that people really enjoy the time they spend in our office and like the fact that things are open and airy. The design has helped our business as it has made the flow of traffic a lot better and more efficient. The retail component has improved as it feels like we have more choices for everyone.” www.bortolotto.com

oberste Ring durch Senso RGB-Streifen eine blaue Färbung erhält. Das kühle Blau unterstreicht die skulpturale Form der unteren Ringe, wodurch dem Raum eine organische Präsenz verliehen und gleichzeitig der Innenbereich beleuchtet wird. Die Decke ist ebenfalls durch die hohen Fenster der Fassade sichtbar. Die schafft eine visuelle Attraktion für Passanten und unterstreicht die Luxus-Identität des Firmengeländes.

ITALIANO Quando l’ Optometria Finch Avenue si è avvicinata per la prima volta all’ architettura Bortolotto, nel 2012, la sua idea si è concretizzata: progettare una nuova sede che esprimesse l’impegno sia per una cura degli occhi di alta qualità che per lo stile contemporaneo. In risposta, gli architetti di Toronto hanno creato un interno visivamente stupendo, moderno e clinicamente tagliente che allo stesso tempo potesse soddisfare i requisiti funzionali degli optometristi. Entrando nel negozio, i clienti sono immediatamente

PROJECT DETAILS Finch Avenue Optomotry, Toronto, Canada Client: Finch Avenue Optomotry Architect / Lighting Design: Bortolotto

LIGHTING SPECIFIED Main Showroom: Senso Lighting Dimmable whiteLED strip - ceiling feature Senso Lighting RGB LED strip - ceiling feature Senso Lighting Flexible LED strip - display area Delta Light Minigrid trimless LED downlight - display area i2Systems V-Line wall grazer - sunglasses display Civic Mini Tuba LED ceiling mounted fixture - reception area Sistemlux Linear Recessed T5 Exam Rooms & Work Rooms: Sistemlux Double LED recessed directional downlight Focal Point Sky 2x2 indirect T5 diffuser Sistemlux Under Cabinet T5 Maxilume metal halide downlight Eurofase Vesper wall sconce Senso Lighting LED Puck Light Control: Lutron Skylar Contour Dimmer Lutron Claro Switch Control Exterior: Sistemalux Lift Square

attratti da un prominente soffitto oculare. Ispirato alla meccanica dell’occhio e alla profondità della percezione del campo, otto anelli concentrici cadono a cascata verso il basso, ciascuno definito da delle strisce nascoste a LED bianche della Senso Lighting. Nella parte più bassa, il lampadario culmina in un centro a specchio che rappresenta la pupilla dell’ occhio, mentre al suo anello più in alto è stata data una tonalità blu attraverso l’utilizzo di strisce RGB della Senso. L’azzurro freddo enfatizza la forma scultorea degli anelli inferiori che creano una presenza organica, ma illuminano anche l’interno. Il soffitto è visibile anche attraverso le alte finestre della facciata, attirando l’attenzione visiva dei passanti e rafforzando un’alta identità pratica.

ESPAÑOL Cuando Finch Avenue Optometry se acercó por primera vez a la práctica Bortolotto de arquitectura en 2012, sus premisas fueron claras: diseñar un nuevo sitio que expresara el compromiso tanto a la premisa del cuidado

de alta calidad de la visión como al estilo contemporáneo. En respuesta, los arquitectos con base en Toronto, crearon un interior visualmente deslumbrante, moderno y clínicamente ajustado, mientras que al mismo tiempo cumplieron con los requerimientos funcionales de los ocupados optometristas. Al entrar al showroom, los clientes son atraídos inmediatamente hacia un atractivo cielorraso ocular. Inspirados por los mecanismos del ojo y la profundidad de la percepción del campo, ocho aros concéntricos caen en forma de cascada, cada uno definido por tiras de LED blancas ocultas de Senso Lighting. En su parte inferior, la araña culmina en un centro donde se refleja, representando la pupila de un ojo, mientras que el aro más alto tiene un tinte azul gracias a las líneas de Senso RGB. El azul fresco enfatiza la forma escultural de los aros inferiores, lo que le otorga al espacio una presencia orgánica, a la vez que ilumina el interior. El cielorraso también está visible a través de las altas ventanas de la fachada, creando una atracción visual para los transeúntes, reforzando la identidad de sofisticación.

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ART & DESIGN / ILIGHT MARINA BAY

SINGAPORE SLING iLight Marina Bay is Asia’s only sustainable light art festival. This year themed Light+heART, the program featured 28 innovative and environmentally sustainable light art installations from around the world. The strong line-up of 28 sustainable light art installations by local and international artists brought greater variety and interactivity for festival-goers at this year’s iLight Marina Bay 2014. Organised by the Urban Redevelopment Authority (URA), the threeweek festival aimed to raise awareness on environmental sustainability issues through artworks with the theme ‘Light+HeART’. At 7.30pm to 11pm nightly around the Marina Bay waterfront, visitors enjoyed a visual feast specially curated by the three-member team from ONG&ONG, comprised of Ong Swee Hong, Andrew Lim and Tai Lee Siang. Headlining the Festival were seven installations by invited artists, such as Celebration of Life by local artist Justin Lee, a projection piece on the ArtScience Museum façade that offered a playful commentary on the role and value of traditional culture in contemporary society.

CLOUD LIGHTING DESIGNERS: Caitlind R.C. Brown & Wayne Garrett CLOUD was created from both new and recycled materials, combining the aesthetic of incandescent light bulbs with the brilliance of energy-efficient bulbs. CLOUD offered a playful commentary about the changing face of sustainability, while the piece was bright and attractive to audiences, the internal contrast of old and new light technologies provided a critical dialogue about energy, sources of light and sustainable progress, while maintaining an optimistic tone of magic, hope, and beauty. CLOUD invited strangers to come together beneath a dazzling raincloud and play. The edition created for the festival was a evolution of CLOUD and incorporatied a more playful system of interaction than previous incarnations, encouraging a light hearted spirit of exploration and discovery. By pulling on a switch, the viewer was able to trigger a quantifiable shift within the greater aesthetic of CLOUD, visually highlighting the power of an individual’s ability to impact progress and achieve significant change. www.incandescentcloud.com

1.26 Singapore created by US-based artist Janet Echelman, was comprised of a large floating, fluid sculpture that reimagined the tsunami created by the 2010 earthquake in Chile which resulted in the shortening of earth’s day by 1.26 microseconds. This year, the festival featured an impressive local line-up with about half, or 13 of the installations created by local artists. As well as this and for the first time, the festival showcased installations by the Singapore University of Technology and Design (SUTD) and students from the Republic Polytechnic (RP). iSwarm, presented by SUTD, reacted to groups of visitors by detecting human presence and responding with launching a light pattern across the waters of Marina Bay. As well as this A Land of Reverie, a drawing using fluorescent paint and UV lighting created by Sheryl Ng and Nigel Ho from Republic

Polytechnic, saught to inspire visitors to play their part in creating an eco-friendly environment. Five other local schools, Temasek Junior College, St Anthony’s Canossian Secondary School, Victoria School, Dunman High School and Singapore Polytechnic, also came on board for the first time this year. This spirit of collective involvment was mirroed by #WeHeartLight, an installation by Light Collective which asked students to make simple light boxes that were then assembled together to form the final art work. Done through a series of workshops, the process of constructing this installation emphasised the importance of educating the future generation on sustainability, a theme than ran throughout the entire festival. www.ilightmarinabay.sg

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#WEHEARTLIGHT LIGHTING DESIGNERS: Light Collective Making light is open to everybody and Light Collective demonstrated this by teaching 200 local school children to make a simple light box, personalised with images and text. When assembled together, the light boxes made up the installation. Light Collective worked closely with students from different schools in Singapore, to build the installation which was inspired entirely by the people who live in Singapore. This installation was created through a series of workshops where students played an important role in the making and design of the artwork. The process of constructing the installation helped to emphasise the role of education in guiding the future generation towards a more sustainable future. www.lightcollective.net

JOUJOU-OURS LIGHTING DESIGNERS: Uno Lai LIGHTING SUPPLIERS: Traxon Uno Lai believes that interactive arts are not just about technology, but should reflect simple acts in order to express love. Inspired by childhood memories of hugging soft toys, Joujou-Ours is an installation that encourages people to come close and embrace the light installations. When embraced the embedded lights within the figures created a magical kaleidoscope of colours. www.unolai.com www2.traxontechnologies.com

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ART & DESIGN / ILIGHT MARINA BAY

SINGAPORE LIGHTING DESIGN: Janet Echelman Sustainability can relate to the memory and preservation of the traditional craftsmanship and in 1.26, we see an extremely innovative way of preserving a craft that might be seen as obsolete by most. Janet Echelman has been inspired by the traditional craftsmanship of fish net weaving and lace making in the construct of her urban sculptures and has re-intepreted the technique to new heights through the technology that she had utilised, allowing all to appreciate traditional crafts in a new

form. In the piece for i Light Marina Bay 2014, Janet Echelman’s luminous 1.26 sculpture will suspend over the floating platform. The form and content has been drawn from observing Earth’s interconnected systems. Echelman used laboratory research from NASA and NOAA which documented the effects of the 2010 earthquake in Chile — the historic shock resulted in the shortening of the earth’s day by 1.26 microseconds. / www.echelman.com

**INSERT CAPTION PLEASE LIGHTING DESIGN: Ryf Zaini **Insert Caption Please was a giant speech bubble that displayed thoughts and messages akin to comic strips. Our social interaction has often shifted to screenbased interfaces as our primary form of communication. If these speech bubbles could be representations of our thoughts, everyone would be walking around with hovering speech bubbles above their heads. But these messages were different. They were autonomous, generating random quotes and texts. The work beckoned the audience to react to the heart-felt comments that were thought-provoking, witty and at times, humorous.

THE WISHING TREE LIGHTING DESIGN: The Living! Project The Wishing Tree represented the positive hopes and dreams of visitors wishing the best for the world. It encouraged everyone to imagine what their perfect world could be like and wish for it on the tree. www.facebook.com thewishingtreebythelivingproject

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ART & DESIGN / ILIGHT MARINA BAY

HAPPY CROCO LIGHTING DESIGN: – Bibi Happy Croco was comprised of a luminous 20m long sculpture, whose backbone was made of traffic cones. This urban crocodile used two types of LEDs and low energy light bulbs. It was a puzzle made up of different objects; a playful and funny installation that carried a significant and serious message despite its levity. Happy Croco was both a work of land art and design, a light source and a visual art installation. This installation’s relation to the theme can be found in the crocodile itself, which is revealed upon closer examination, to be made from everyday discarded items that have been given a new lease of life. www.bibi.fr

GIANT DANDELION LIGHTING DESIGN: Olivia D’Aboville The work was comprised of giant dandelions a forest of 90 larger-than-life light flowers that people could freely walk through. The installation featured flowers of varying heights and 90 dandelion heads made from close to 9,000 recycled water bottles that were cut and connected to one another by a nylon weave. Each flower was lit by an energy efficient bulb in order to create intensity variations within the forest. the art work was produced in conjunction with ‘Hope in a Bottle’, a Filipino brand of water bottle which gives proceeds from their sales to building new public schools around the Philippines. The exaggerated scale of the dandelions created an interesting landscape of light, and through the creative re-using of the discarded plastic bottles, it sent out a larger message of inspiration and hope to the less-privileged. www.oliviadaboville.com

BEAT LIGHTING DESIGN: ARUP SINGAPORE Featuring translucent shapes that slowly throbbed with a relaxed light pulse to draw attention, the stones of Beat were moved into life by touch. Answering visually, the objects adopted a human heart beat light pulse. Once visitors had interacted with the display, the installation was then synchronised, becoming a single thoughtful beat. The installation was designed to be inclusive, fun and light-hearted while promoting a sustainable message, emphasising the point that it only takes one person to initiate change and collectively, change can be realised. www.arup.com

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ART & DESIGN / VIVID SYDNEY

Pic: Daniel Boud

VIVA VIVID Weaving in more areas of Sydney than ever before and attracting an unprecedented 1.43 million visitors, the 2014 edition of Vivid light festival once again brought a warm glow to the New South Wales winter. The progressive success of Sydney’s Vivid festival reached a new high this year, with over 1.43 million people coming to see the wonderland of lighting installations through out the city. It was, organisers observed, equivalent to the entire population of Adelaide filing through the city during the festival’s three weeks. Vivid Sydney 2014 broke new ground with more light installations across five new precincts, 60 musical events at Sydney Opera House, Carriageworks, the Seymour Centre and the Basement, as well as over 300 speakers at 180 creative industry events. The popular Vivid Light Walk returned for 2014, illuminating the night sky from Circular Quay to Darling Harbour with 56 installations brought to life by 140 artists from fifteen countries. A kilometre of fibre optic cabling and 100,800 low power LED lights were used by

Intel and 32 Hundred Lighting to light the interactive Colour the Bridge installation adorning Sydney Harbour Bridge, with visitors to North Sydney taking turns at choosing their own colour palette on this world-famous landmark. New precincts of Martin Place, the University of Sydney, Carriageworks, The Star and Harbour Lights were welcome additions to this year’s festival, providing even more spectacular light installations, cultural and creative workshops, musical performances and culinary delights for Vivid Sydney visitors to devour. “Vivid Sydney has also been a huge hit with retailers, with many reporting double and triple their takings compared to a night either side of Vivid,” said Sandra Chipchase, Destination NSW Chief Executive Officer. Vivid Sydney’s Creative Director Ignatius Jones agreed that 2014 had seen the event

climb to the next level. “This year we explored new artists, new buildings and new areas, including the Harbour itself, to bring visitors an eye-popping festival that couldn’t happen anywhere else,” he said. “Vivid is a wonderful intersection of a family festival crowd and the best talents in the creative industry and this year, I think the result has been unforgettable. “I look at the large number of joyous visitors, everyone smiling, everyone goggling at this amazing presentation of public art – all of it free, of course, and open to anyone, rich or poor – or getting down to cutting-edge music performances, or inhaling the wonderful, life-changing concepts being shared at the Ideas program, and I think: ‘only in Sydney’. Vivid Sydney.” www.vividsydney.com

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THE POOL LIGHTING DESIGNERS: Jen Lewin The Pool is composed of 100-120 pads. Each pad is three feet in diameter and six inches tall. In plan, The Pool can span anywhere between a 37-foot square (at a compressed scale) to a 75-foot square (at an expanded scale). Each pad in The Pool is composed of a custom microcontroller, a wireless Xbee radio, a sensor array and 180 pixel controlled RGB LEDs with full colour mixing and fading control. The waterproof polypropylene Pads are made for aggressive interaction and public use and can be placed outdoors in virtually any type of environment. The Pool runs off of three normal 110V AC household outlets and takes a total of 4-6 hours to setup. www.jenlewinstudio.com Pic: James Horan

CLOUDSCENE LIGHTING DESIGNERS: Milos Carkic Cloudscene questions the cyclical use and dismissal of the ordinary plastic bottle and how its role quickly shifts from daily necessity to unwanted landfill. The installation consists of 3,000 suspended PET bottles, with LED lighting placed between them, creating an effect of diffused light and transparency. This effect conjures up the physical shape and characteristics of a cloud. The bottles, that once were used to transport water, become the tangible and collective expression of water in a different physical state – a cloud sitting silently amongst the heritage fabric of the city. By day Cloudscene is an ambient sculpture, capturing light patterns and wind movement through a narrow channel. At night, the sculpture is animated by light scenes creating movement and pattern along the laneway. www.mscarkic.com

Pic: James Horan

TERRA INCOGNITA LIGHTING DESIGNERS: Ruth McDermott / Ben Baxter Terra Incognita is based on the diary notes and sketches of the 1911 Mawson expedition to unknown areas of Antarctica which feature observations of dramatic lighting effects both during the day and night. As Mawson himself noted “Antarctica is a world of colour, brilliant and intensely pure...“ . McDermott and Baxter interpreted this with a combination of dramatic lighting effects of high visual contrast and colour, accompanied by voice and sound effects to create an immersive experience for a wide range of viewers. www.mcdermottbaxter.com

SKY FLOWER

Pic: Brett Hemmings

LIGHTING DESIGNERS: Simon Brockwell Sky Flower was conceived by studying and then amalgamating the forms of a variety of winter flowers. The artistic intention was to develop a work that envelops the space around it and draws spectators in from afar. A beautiful sculpture when viewed at close quarters, this gigantic flower blossoms into radiance with petals made of beams of light. Using the latest technological innovations in lighting, the piece has been designed to represent a real flower when you view it from above; from all other angles, Sky Flower dazzles you with an awe-inspiring light show. The piece uses lighting equipment supplied by Robe, including their MMX Blade, 600E Beams, LEDWash 1200s, LEDBeam 100s and Pointes (all from Robe’s ROBIN Series), plus four CitySkape Xtremes. www.robe.cz www.sbld.co.uk

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ART & DESIGN / VIVID SYDNEY

URBAN TREE PROJECT

Pic: Brett Hemmings

LIGHTING DESIGNERS: Nicholas Tory / Lucy Keeler / Martin Crouch / Julian Reinhold / Iain Greenhaigh Urban Tree Project was an architecturally mapped digital projection, transforming the MLC building into a magnificent living tree within a dense urban environment. The installation explores themes and questions relating to urban lifestyles, the impact of high-density living on the natural environment and our very human need for green space. Out of the darkness, the MLC building was transformed as a series of shoots sprouted from the ground. Slowly they matured into a dense copse of trees with rich green folliage enhabited by a diversity of wildlife. Video projection was provided by TDC – Technical Direction Company. www.tdc.com.au

KALEIDO-WALL 1.0 LIGHTING DESIGNERS: Vin Rathod / Priyanka Rathod Kaleido-Wall 1.0 allows spectators to see the surrounding space in mosaic form: crowds mixed with tiny shattered images of nearby buildings and structures, all enhanced by strips of coloured light. The wall is a 1.2m deep, modular latticework; all internal surfaces of the structure are constructed using highly reflective, mirror-like panels. It can be viewed from both sides and the reflections work both in daylight and at night. www.throughvinslens.com

Pic: Daniel Boud

VANTAGE POINT - SEA OF PEOPLE

Pic: James Horan

LIGHTING DESIGNERS: John Wright Sculptor John Wright and North Sydney Council presented an installation comprising 22 perspex figures sited on the harbour foreshore at Kirribilli. Titled ‘Vantage Point – Sea of People’, this subtle piece invited visitors to the site to wander through and around the life size figures of varying scale and proportions. Each figure is animated and ‘alight’, making reference to the splendour of the Vivid event and its continuing place as one of Sydney’s most important arts and

cultural festivals. At the same time it is also a response to the local community and growing number of visitors to the North, who have come together to celebrate the winter festival and, from this vantage point, witness the spectacle of the lights across the harbour from one of North Sydney’s key landmarks. The transparent nature of the piece delivered a layering effect, with each ‘sillhouette’ appearing brighter or paler depending on the angle of view. The piece was supported by Paul Hopmeier, Defiance Gallery and The Lighting Guild.

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ART & DESIGN / VIVID SYDNEY

CELLULAR TESSELLATION

Pic: James Horan

LIGHTING DESIGNERS: Architectural Fabrication and Research Laboratory / Chris Knapp / Jonathan Nelson / Michael Parsons Cellular Tessellation is an architectural installation that transforms the urban experience of pedestrians. This softly glowing, geometric form responds to movements, resulting in an ever-shifting space of patterned and immersive light. Innovative ‘computational form generation’ techniques were used to create and resolve the shape and componentry of the pavilion. The geometry of the artwork is a complex surface comprising an organic array of

cellular ‘Voronoi’ shapes, cut from flat sheet materials, folded, and aggregated to create the pavilion. The pavilion is CNC-cut from flat sheets of high density polyethylene – recycled plastic milk bottles. Each ‘cell’ contains an array of LED lights, driven by Arduino microprocessors and motion sensors. The artwork was developed by a team of three design-driven academics from the Soheil Abedian School of Architecture of the Gold Coast’s Bond University, who have developed the project to research emerging possibilities in architectural form and construction.

CIRCUS OF LIGHT LIGHTING DESIGNERS: Griffen Lim / Maggie McFadyen Circus of Light is a collection of suspended plate forms that glow from within, inviting specators to engage with the installation. Whirling forms and changing colour transform the site into a dynamic space that draws the viewer closer. The spun-aluminium forms conceal an LED light source that creates a continuous glow. The ‘plate’ appears to spin to 360 degrees and tilt up to 90 degrees; the installation continuously changes depending on your viewing perspective. Additional ‘plate’ forms populate the space, creating a dense field of play. These plates are lightweight, allowing them to respond to weather conditions, moving and swaying in the breeze. The surrounding architecture becomes an illuminated backdrop, throwing the installation into sharp relief and becoming part of the artwork. The experience is supplemented by the audio overlay of a circus soundscape. www.griffenlim.com

Pic: James Horan

THE LIMINAL STATE

Pic: James Horan

LIGHTING DESIGNERS: Susan Theron Ales Vasenda / Glen Anderson / Paul Gough / Michael Kellis / Jeffrey Stokes / Laura Jade Hindes The Rocks is an area that brings together a rich Sydney history with modern developments. The Mission Steps provide a key thoroughfare between these old and the new spaces and so were the ideal location for the Liminal Zone. The concept of ‘liminality’ refers to a sensory threshold, an intermediate state, or a barely perceptible condition. It is generally recognised as a period of change; characterised by a sense of ambiguity and openness. The dissolution of order during liminality creates a fluid, malleable situation that enables new ways of being. The installation enveloped the public in sound and light, transporting them to a sensory realm, where forms flicker and shadows are fleeting.

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ART & DESIGN / OPINION

LIGHT YEARS AHEAD There’s a lot of talk about 2015 and the International Year of Light (IYL2015) but we are not convinced that many people know whats it’s all about. If you do, then we commend you, if not shame on you because you should do. Here’s a quick intro to what it’s all about. So what exactly is the IYL2015? The United Nations (UN) International Year of Light and Light-based Technologies 2015 (IYL2015) is a cross-disciplinary educational and outreach project with more than 100 partners from over 85 countries, accompanied by the UNESCO International Basic Sciences Program (IBSP). It is a global initiative that will highlight to the citizens of the world the importance of light and optical technologies in their lives, for their futures, and for the development of society. The year 2015 is a natural candidate for the IYL, commemorating a number of important milestones in the history of the science of light. Who are the official supporters? Companies, universities and other organisations are joining this initiative to support the aims of the United Nations and UNESCO and to create partnerships with key stakeholders and end-users in the field of light technology, culture, development and education. IALD recently announced its Patron Sponsorship of the IYL2015. “Most people experience light and lighting in the built environment,” said IALD President Barbara Horton. “The International Year of Light 2015 offers a terrific opportunity to help draw public attention to the impacts of light on human comfort, productivity and well-being. Lighting designers combine best practices in design with the most current technology to simultaneously improve quality of life and reduce the negative environmental impact of our work. IYL 2015 will provide a framework for lighting organisations around the world to build public and policy-maker understanding of the role that light and lighting play in daily life.” IALD has worked throughout 2014 to help raise the profile of the architectural lighting design profession within the IYL structure, and has been instrumental in the establishment of “light and the built environment” as a key pillar of IYL, which was initially focused primarily on optics, photonics, and other light-related sciences. As a Patron Sponsor, also Philips will work with UNESCO to raise awareness of the ways that light- based technologies can provide

solutions in the areas of energy, education, agriculture, health and wellbeing. The company will also support the programme “Study after Sunset” to promote the use of portable solar-powered high-brightness LED lanterns in regions where there is little or no reliable source of light.

serve the needs of this quite small community. This leads to a lot of fragmentation and each organisation has its own agenda. We would be so much stronger working together. An initiative like the creation of the L-RO gives us an opportunity to speak with one voice.

What is this new organisation called the L-RO? Lighting-Related Organisations (L-RO, www.l-ro.org) represent a broad global professional community of people who work with light and lighting in the built environment.

Why should you get involved? It’s an opportunity for every single person involved in and passionate about lighting within our industry to speak to a wider audience in line with the aspirations of UNESCO making this our greatest opportunity for education outreach to date. As an industry, we are excellent at talking to each other about lighting but we rarely break through the confines of our professional world to connect with other people and share what we do. This is an opportunity to create a dialogue about the importance of light in every aspect of our lives and the spaces we inhabit. Moreover all the ideas included in the official General Activities Programme by L-RO will be given privileged publication opportunities in the press and general media coverage from all over the world. Raising awareness of lighting design should be our top priority. The idea that lighting design is fundamental for all environments is something that we need to strive to make the whole world aware of.

The representatives of 30 associations, collectives, universities, events and media from 20 countries formed L-RO in April 2014 to help achieve the aim of public recognition of lighting design and education, that is embodied in the UN International Year of Light. L-RO launched a Call for Ideas for events to frame the general concept of the IYL2015, to allow lighting-related people to contribute to IYL2015 and tap into the constantly growing lighting community. Managed entirely on a volunteer basis, the L-RO effort is the only global repository of IYL 2015 events and activities related to light in the built environment and will co-ordinate an international General Activities Programme. What’s the point of it all? Our industry is not big. The mondo*arc International Lighting Designers Survey includes approximately 1200 consultancies worldwide. There are an incredible number of organisations that have been created to

How can you be involved in the IYL2015? Be part of the activity program. It doesn’t have to be something that costs lots of money nor do you need to have years of experience. It also doesn’t need to be a large event. You could offer a lighting design clinic, open your office to other disciplines, go into a local school and talk about light, offer to teach a class at a university or college, create a tour of your projects or a general light walk around a city, hold a pecha kucha or just make some light happen in the street.. Do something. Join in and help make the IYL2015 something to remember. www.l-ro.org By Light Collective and Chiara Carucci (LRO Leading Coordinator for IYL2015).

ANOTHER PERSON’S DARK SPACE IS OUR BLANK CANVAS. AN IALD PROFESSIONAL LIGHTING DESIGNER SEES THE POSSIBILITIES IN EVERY ENVIRONMENT. LEARN HOW AN IALD LIGHTING DESIGNER CAN TURN YOUR VISION INTO REALITY. VISIT IALD.ORG AND CLICK ON "FIND A LIGHTING DESIGNER" TO REFINE YOUR SEARCH.

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ART & DESIGN / DARK SOURCE STORIES CREATED BY KEREM ASFUROGLU

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TECHNOLOGY / CASE STUDY

OVERARCHING FAST FOOD Livingprojects, Philips Value Added Partner, has designed a colour changing LED system to add dynamism to a ‘foodstrip’ in Amsterdam.

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Near to the iconic Fletcher Hotel on the outskirts of Amsterdam is a sculpture comprising sixteen curved arches of steel over a ‘street’ of fast food restaurants. These are located adjacent to a network of roads and junctions so that drivers can easily stop and purchase a quick meal. The original installation had a simple line of static green LEDs recessed in the arches but the luminaires had degraded over time and many were not working at all. In this location, it is important to have something eye-catching but not too distracting for drivers. The owner, Caransa Groep, wanted not only to renew the existing lighting but also to upgrade it for a more dynamic and reliable system. Livingprojects were asked to provide a complete solution. This included the design of a new aluminium strip and mounting system for the LEDs, the layout of the control cabinets, programming of various scenes and producing a complete methodology and drawings for the installation contractor. “Our customers include lighting designers and electrical contractors but, in this case, we were asked to do everything”, says Michael Sebregts, Director of Livingprojects. Even with static colours, the overlapping arches provide a constantly changing view as you drive past or walk underneath. The lines of colour and angles criss-cross as you move along. Of course, installing colour changing and sequencing LEDs adjacent to a busy road network requires co-operation and approval from the Local Authority highway engineer. “We took a softly, softly approach” says Jurgen Bal the Technical Manager at Livingprojects. “There are no rules for a structure like this. Are the arches a sculpture, a tunnel or a building? We had a lot of discussions and agreed to introduce moving colours only for special events”. The basic pre-set scenes are ten static colours and five dynamic. The static colours change daily whereas the dynamic are used for holidays and special events. For example, when the Ajax soccer team is playing, the LEDs can be set to red and white. If the client wants it, the LEDs can flash when a goal is scored. Livingprojects programmed all the scenes and produced complete wiring diagrams for the installation. These scenes can be accessed by a small control box installed near the arches. Although the length of the ‘foodstrip’ is only 150m, a total of 1.8km of CK Flex is installed in the 20 arches. www.philips.com/livingprojects

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TECHNOLOGY / CASE STUDY

REMAKING HISTORY Tyneside has a thrilling history and many of its industrious relics, including some early lightbulbs, can be found in the refurbished Discovery Museum in Newcastle. Fixtures from Concord were used to light history.

A new and improved lighting scheme at the Discovery Museum in Newcastle has been unveiled. The science and local history museum that displays the 34 metre long ship, Turbinia, the first steam turbine powered steamship, the museum also features examples of Joseph Swan’s early light bulbs, which were invented on Tyneside. Concord products were used on the project due to the company’s longstanding history of working in museums and the choice of LED products was driven by the advantages of energy efficiency and reduced maintenance. The new lighting scheme incorporates several areas of the museum and features Beacon and the multi award-winning Beacon Muse luminaires from Concord.

A programme of on-going refurbishment has delivered improvements to many of the galleries at the museum, including the Entrance Gallery which houses the Turbinia. For many years the museum has used Concord track lighting, and continues to do so for its compatibility with both new and existing luminaires. “This cost effective solution provides us with an aesthetically pleasing design that is fully compatible with our existing lighting track,” comments Phil Robinson, Customer Service and Facilities Manager at the museum. The new lighting scheme has lowered energy consumption and on-going maintenance by eliminating the need to replace failed lamps therefore reducing the incidences of museum

displays being unlit. The new luminaires feature in various galleries in the museum including the Entrance Gallery, Story of the Tyne Gallery, Ballroom Gallery, Soldiers Life Gallery and the Destination Tyneside Gallery which has recently been redesigned by Redman Design. Showcased throughout the museum are several products from Concord’s Beacon spotlight range, from Beacon 26W High Output in the high ceiling entrance gallery, through to the flexible Beacon Muse in the smaller gallery spaces such as Destination Tyneside and Soldiers Life gallery. www.havells-sylvania.com

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PRETTY IN PINK Applelec products have been used in the relaunch of Nayomi stores across the Middle East. Pink was the chosen theme and a creative use of light sheet panels were used to achieve the required style.

With over 180 stores, Nayomi is the largest lingerie chain in the Middle East. As part of an extensive programme of development, three Nayomi flagship stores within large city malls have recently been launched with store designs by London’s Kinnersley Kent Design, with a fourth store in Yas Mall UAE currently being fitted. Created around a Princess Palace theme, the new stores feature a powder-pink colour scheme with ornate mirrors and decadent chandeliers. New stores created with this theme include the Mall of Arabia in Jeddah, Nakheel Mall in Riyadh and the Mall of Dhahran in Saudi Arabia which covers 350 square metres of retail space. The flagship stores have each been designed with large pink-lit entrance ways and window displays along

with illuminated feature bays inside the store that are all lit with Applelec’s LED Light Sheet behind decorative pink panels. Applelec’s Aura Linear LED profiles were used to illuminate coving areas with 4100K LEDs used in both the LED Light Sheet panels and LED profiles behind a pink filter to achieve colour consistency. The construction of the store entrance structure included fitting the LED Light Sheet panels into the entrance way framework. This structure was then dismantled into smaller pieces for transportation and reassembly as part of the store re-fit. In managing a large portfolio of stores, the issue of maintenance was a significant consideration to team when selecting

products for use. Due to this, the new Nayomi stores are lit entirely by LED with LED chandeliers and directional product lighting in addition to LED Light Sheet panels and Aura Linear LED profiles. To meet the project demands, Applelec achieved compliance verification for LED Light Sheet, which enables the company to export across the Middle East. In addition to the three Princess Palace themed stores, LED Light Sheet entrance features have been created for two smaller Nayomi stores in the Al Salam Mall in Jeddah and Al Moor Mall in Madina, Saudi Arabia. The next development at Yas Mall, UAE is set to launch in time for the Abu Dhabi Grand Prix in November 2014. www.applelec.co.uk

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TECHNOLOGY / CASE STUDY

DIM THE HOUSE LIGHTS The reinvigorated Tivoli Vredenburg in Utrecht is one of the leading cultural venues in The Netherlands. CLS provided house lights with a unique dimming capability for the buildingâ&#x20AC;&#x2122;s auditoriums. On July 3rd 2014, King Willem Alexander officially opened the completely renewed Tivoli Vredenburg in Utrecht. The venue came about as the result of merging two existing venues: Tivoli, one of the most famous stages for pop music in The Netherlands, and the Music Centre Vredenburg, which is known for its classical music performances. Tivoli Vredenburg consists of five different concert stages, each with their own character, while four new concert halls have been constructed around the existing main auditorium, with the main stage, undergoing a complete overhaul. New seats have been installed, a new lighting system has

been provided, a foyer has been added and both in and outdoor walls, ceiling and floors have either been renovated or completely renewed. CLS partner Fairlight teamed up with Utrecht based Airlight to supply the lighting and other stagecraft equipment for all venues within the new building. A challenging task, executed perfectly. For the main auditorium, the CLS Ultima was selected as house lighting, as this fixture had already proved itself in various theatres and auditoriums. The Ultima is an excellent fixture for this kind of application, due its unique dimming method and the very low UGR-value. The combination of lenses and black

housing, ensures that glare is reduced to an absolute minimum. In addition, it is one of only a few fixtures available on the current market, that is actually able to match the results of traditional light sources on a height of 16 metres, but with a maximum power consumption of only 16.8 Watts. Lighting technicians of different theatres and auditoriums are most impressed with the possibilities that this particular fixture has to offer. In this setting, perfect dimming is a must and the Ultima amazes many. www.cls-led.com

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TECHNOLOGY / CASE STUDY

L.A. IS MY LADY L.A. Live is one of the principle entertainment areas of Los Angeles, playing host to major sporting and music events. A new instillation of Griven fixtures ensures that the building is visible on the L.A. skyline. Adjoining the Staples Center and the Los Angeles Convention Center, the L.A. Live district is home to some of the best attractions in Southern California. The amusement structure is located on a 27-acre (over 109,000.00m2) site and features an array of entertainment venues, retail, commercial and residential spaces, including the Conga Room, The Grammy Museum, and The Ritz-Carlton Los Angeles hotel as well as a host of other renowned restaurants. 40 Imperial 4000W searchlights by Griven crown the District, producing a spectacular dancing light choreography supplied by Solotech. Opened in 1999, STAPLES Center is a large multi-purpose sports arena owned and managed by AEG, which hosts over 250 events including the annual GRAMMY Awards, concerts, family shows, national conventions, all-star games, championships and tourna-

ments. The STAPLES Center is also home of the Los Angeles Lakers. AEGâ&#x20AC;&#x2122;s Paul Flanagan, Director of Engineering, wanted to come up with something more dramatic, with little maintenance and a wow factor for the site. He called upon industry veteran Brian Konechny (now at Solotech) to help. The Griven unit appealed because it had less moving parts than typical fixtures, so reliability was greater and it was possible to program synchronised patterns via DMX, making the lights even more dramatic. Griven stepped up and made some custom modifications that made the installation and control straight forward. All of the fixtures are controlled and programmed on an Interactive Technologies Cue Server and through a selection of Pathway DMX nodes. L.A. Live district now looks as if it is wrapped up in a geometric pattern of

glittering, powerful beams of light reflecting, in a skyward-pointing sparkling mesh of light, the inventive, forward-looking design that has always been the foundation of L.A.â&#x20AC;&#x2122;s reputation as a centre for cutting-edge architecture and illumination. Specified and supplied by Solotech, the 40 units of the Griven narrow single beam searchlight Imperial in custom white finish, located either on the roofs or at the base of all the buildings that form the L.A. Live district, every night precisely sweep their powerful white rays through the sky of Downtown L.A. attracting the attention of thousands of tourists and residents. Their high reflectivity optics and precision focus setting ensure a superbly bright, perfect light beam visible from great distances, while creating a memorable, breathtaking show. www.griven.com

LED EXPERTISE SINCE 1977

www.lec-lyon.com

Kerb lighting along ground in Nîmes, South of France

In use: 1836-Ville de Paris LED marker-lights / Light designer: Côté Lumière / Pic: V. Formica

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TECHNOLOGY / LIGHTING CONTROL CASE STUDY

LOUD AND CLEAR As part of its decennial lighting redesign, the Oriental Pearl TV Tower has been given a StrongLED system capable of controlling a multitude of fixtures types whilst protecting against electromagnetic interference. Completed in 1994, the Oriental Pearl TV Tower was one of the first towers to rise from the former farmland of Pudong, the district of Shanghai to the east of the Huangpu River. Its iconic shape quickly came to symbolise the city’s emerging aspirations to become a global economic powerhouse. Now joined by a parade of ever-taller neighbours, the Oriental Pearl remains popular, welcoming thousands of visitors each year. As scheduled on its unveiling in 1994, the tower’s exterior lighting system has been redesigned and renovated every decade in order to refresh its presence on the Shanghai skyline, reinventing it for a contemporary audience. 2014 saw the latest phase of lighting implemented, this time using technology from StrongLED. The tower’s role as both economic and political symbol meant that, once completed, the music and light show had to consistently deliver without operational failures – particularly during special events and festivals. Consequently, approval was only given on

systems that had successfully undergone exhaustive testing. With over 1,000 projects completed for both domestic and international markets (including Beijing SOHO Galaxy, Sichuan TV Tower, The Tianjin Ferris Wheel, and Orchard Road shopping Mall in Singapore), StrongLED was well placed to deliver proven technology. StrongLED identified key features of the Pearl Tower and upgraded some key functions of its original Versalink Outdoor Lighting Control System to meet the project’s needs. Firstly, it developed and applied its ring topology to connect the master controllers to all the sub-controllers. Two main controllers are programmed as back-up to each other, and signals are sent out from two directions - clockwise and anti-clockwise - to each sub-controllers respectively. A sub-controller receives signals from two directions simultaneously, keeping the show going should an error occur with one route. A dual back-to-back configuration of the master controllers means that, if the

default incoming signal is lost, the sub-controller will be automatically switched to the other signal source. The switch-over takes less than 0.1ms – seemless for anyone watching the light show. Once a signal is lost, the master controller also raises an alarm to alert technicians to the failure. The transmission energies from the TV antenna on top of the Shanghai Oriental Pearl TV Tower, radio frequencies reflections from surrounding tall buildings and navigation radar and radio communication equipment on ships plying the Huang Po river all produce electro-magnetic interference (EMI) against which the control system had to be protected. This problem is compounded by the huge distances between the control room in the basement to the fixtures at the top of the 480 metre tower. StrongLED used fibre optics to connect the master controllers and all sub-controllers. High-efficiency transmission, and 100% resistance from EMI interferences made it the ideal choice. Fibre optics are also able to cover long spans: 2,000 metres in mul-

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Above left StrongLED developed a ring topology that connects the Master Controllers to all the sub-controllers. Two main controllers are programmed to act as back-ups to each other, and signals are sent out from two directions - clockwise and anti-clockwise - to each sub-controller respectively. Each sub-controller receives signals from two directions simultaneously so that, should an unexpected breakdown that could happen in one direction, a signal will still reach its destination. Above right A schematic showing the DMX to LED connections.

timode, and more than 20,000m in single mode. All I/O ports on sub-controllers that connect to the LED luminaires and control system use opto-couplers. These isolate electro-magnetic, static and lightning interferences so that controllers and master control system are protected. The project comprises thousan of high-power luminaires and a 500 square-metre LED display screen on the Tower grand entrance steps. In total there are 150,000 lighting nodes to be controlled by the single master controller with a refresh rate of 30Hz for this project. StrongLED‘s Versalink outdoor lighting control system uses a real-time player to control lighting nodes as individual pixels, driven by the Flash files playing on the display monitor of the master controller. The refresh rate of the screen of the master controller is exactly the same as the real lighting show. The maximum coverage of VersaLink is up to 1024 x 512 x4 (2,090,000) pixels at 60Hz refresh rate. Therefore it

has easily met the specifications of 150,000 control nodes and 30Hz refresh rate for this project. The control technology applies powerful application-specific computing algorithms that allow the video show to be displayed smoothly and without distortion even though the LED pixels differ in physical placement due to constraints imposed by the building’s structure. In spite of the physical irregularities, the master controller can record and remember the relationships of every single wiring connection, installation position, and logical positions of each of the luminaire or pixel. This technology actualises the expectation of controlling irregular placements through real time transformation of signals and parsing to the luminaires in a regular and efficient way. There are nine types of luminaires involved in this project including LED RGB linear lights, LED RGBW flood lights, LED strobe lights, Space Capsule cross-shape lights, LED node pixel lights on the façades of the

two spheres of the Tower, halogen lights, laser lights, 7000W search lights, and the LED display screen on the steps of the front square at the entrance. These all have different control methods and lighting effects, but had to be coordinated and controlled under one system with one master. StrongLED customised its master control software, enabling it to individually sort and arrange the data format of each type of light and transfer the data and output signal according to the installation position and the signal connection conditions. An accompanying music score has long been part of the tower’s light show experience. The new system allows music to be synchronised in one of two ways: by outputting a score sourced from the original flash file or by taking an external music score as a trigger for the light show. A digital sound processor converts the audio into a digital frequency spectrum, which then activates predefined lighting effects, wowing the watching crowds across the river. www.strongled.com

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TECHNOLOGY / LIGHTING CONTROL CASE STUDY

BREAKING THE BANK The Banking Hall in the former Lloyds Bank is an imposing Art Deco treat, from a time when the bank was still an institution to respect. The hall, now a restaurant, features a layered lighting scheme created by using RCL fixtures. London-based event company Camm and Hooper has created a glamorous events, exhibition, dinner and conference venue at the Banking Hall, at the heart of the Square Mile, the city’s historic finance district. The art deco former Lloyds Bank building’s refurbishment by interior designer Russell Sage Studios includes state-of-the-art lighting, sound, AV and internet facilities that have transformed the Banking Hall’s Grade II-listed main hall and mezzanine. The lighting design by Victoria Jerram incorporates remote controlled LED spotlights that play a crucial role in both the interior design and in adapting the space for a fast-changing variety of events. “Camm and Hooper is all about creating amazing events through design, food and service in iconic buildings in central London,” explains managing director Claire Lawson. “When we were offered the opportunity to view Banking Hall we were blown away by its heritage, style and current misuse.

The offering – a restaurant – did nothing to celebrate this amazing space and we knew that if we could have it, we would create a magnificent venue.” “I approached the project by building layers of light, general lighting for the finishing kitchen, main hall and conference services; architectural lighting to do the interior more justice and to pick out architectural features, and a layer of theatrical lighting on top of that with colour changing to add dynamism. I decided to use remote controlled spotlights in the main hall for table spotting and to pick up key elements of the architecture.” Victoria Jerram specified 38 Remote Controlled Lighting’s Director DR2 and 18 DR7 LED spotlights, that can be directed and refocused from the floor using handheld wireless controllers, enabling staff to reconfigure the lighting for different occasions without the need for scaffolding or ladders, saving time and reducing costs. “Using the

RCL handheld controller, the client is able save group settings once regular table layouts have been established,” Jerram explains. “The DR2s hang off a lighting rig for the main hall where a cherry picker would have had to be used. In the mezzanine, which has a lower ceiling height, it is beneficial to be able to save settings for different types of event because they change frequently. The lighting had to be remote controlled to be flexible enough.” The Director DR2 is a surface-mounted remote controlled spotlight, adjustable in pan, tilt and dim level. Jerram specified 38 DR2 spotlights with custom hook clamps to avoid damage the fabric of the building. The scheme uses a further 18 DR7 spotlights. The RCL spotlights have sufficient ‘throw’ to cope with the 27m x 14m main hall’s lofty ceiling height of 10.8m. The RCL fixtures ensure thay a beuutiful space has been beautfully lit. www.rclighting.com

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TECHNOLOGY / LIGHTING CONTROL CASE STUDY

MIRROR IMAGE ETC fixtures have been used to light the Queen’s paintings in the V&A as well as an impressive new artwork. As part of the London Design Festival, a giant mirrored sculpture was installed in a gallery in the Victoria & Albert Museum which plays host to the 500 year old Raphael Cartoons. When lighting designer Amarasri Songcharoen (aka Marci Song) of Seam Design was looking for the best lighting fixtures to light the artworks she required something that would output minimal or no ultraviolet light, while providing a perfectly lit atmosphere. As part of the month long Precision & Poetry in Motion exhibition, design agency Barber Osgerby developed a system of two giant mirrored aeronautical ‘wings,’ which were suspended in the room and would slowly rotate on motors, altering the reflections of the Raphael Cartoons. To light the artworks, 16 ETC Source Four LED Series 2 Lustr fixtures, controlled by an ETC Ion control desk were used. “We were asked to provide a lighting strategy and design for the room and of the sculpture to reveal the Barber Osgerby sculpture in its best light,” says Song. “We also had to pay careful consideration to providing appropriate light sources and light levels for the priceless art pieces which are on loan from the Queen.” The sculpture’s wings were clad with a highly polished mirror finish and it was decided to light the elements surrounding it, rather than lighting the piece itself – but since the floating objects occupied most of the view to the ceiling, the existing high level lights for the artworks would be blocked periodically. Seam Design’s developed a new system for lighting the room, using striking illumination and a dramatic wash to the floor. The Cartoons are then reflected on the wings above them, so that they can be seen by the people standing underneath. “Through its slow rotations,” describes Song, “the sculpture is disorientating and mesmerising, emerging from high level in an uncanny way. The dramatic light enhances these experiences.” www.etcconnect.com

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STYLE IN STOCKHOLM Winning awards in recognition of its workplace style, Microsoft’s new base in Kista, Stockholm, offers a blueprint for a more relaxed way of working. Harvard products were used amid the revolutionary layout.

LED solutions have played a key role in an award-winning office refurbishment in Stockholm. Named ‘Sweden’s Most Stylish Office’, Microsoft’s base in Kista, Northwest Stockholm, features a transformed layout and new lighting. A survey into the way that the office was being used before the refurbishment found that three quarters of 600 desks, occupying about 60% of the premises, were not regularly occupied due to the availability of laptops, tablets and smartphones. It was therefore decided to create userfriendly work spaces that encouraged creative thinking, a move that demanded an equally original lighting scheme that offered flexibility, dimming and energy-efficiency. Sleek, recessed downlights, chosen to complement the building’s low ceilings were used throughout. The EDL62ZP from Lucifer Lighting Company was installed

as it offers up to 42˚ manual tilt, good glare control and is dimmable. The lights are driven by 30W CoolLED DALI drivers from Harvard Engineering, a cost-effective package which offered designers intelligent, programmable digital dimming and delivers a high performance solution for powering high brightness LEDs from a mains supply. Choosing the right LED driver is vital to the success of any lighting design and this flexible, high performance lighting plan illuminates working areas that are now more informal, relaxed and conducive to original thinking, with colour schemes ranging from bright, energetic spaces that feature turquoise, blues and acid yellow to more mellow working areas shaded in muted greys and mauves. Employees have the option of working together in clusters around small tables, sitting on high stools at counters or working in a more relaxed style on sofas.

The long lifespan and high efficiency of the LEDs have been combined with a driver control solution to offer an energy efficient lighting system and Microsoft are also benefitting from lower maintenance costs. At present, most lighting systems are only controlled by the on/off switch, with as many as 80% of offices lit by outdated and inefficient systems. Installing new lighting technologies, together with lighting controls, can result in savings of over 50% in terms of energy consumption and cost. Microsoft has long been in the vanguard of change and this award throws the spotlight on a new blueprint for offices that are fitted for new ways of working, enhanced by cutting edge LED technology that delivers low carbon, high performance illumination. www.harvardeng.com

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TECHNOLOGY / BENCH TEST

Since its launch at Light + Building earlier this year, the CoeLux artificial skylight system has been causing a stir in Lighting Designer circles. Product designer Jonathan Morgan takes a look at the technology behind a ground-breaking new effect.

HEAVENS ABOVE

CoeLux is no ordinary luminaire. Essentially it is a product that reproduces, with remarkable veracity, the effect of bright sunlight passing through our atmosphere, through a skylight and into the room where it is installed. Through the clear skylight window you can see the unmistakable blue hue of the sky above. The ‘sun’ itself is a hugely powerful LED projector which is concealed above the ceiling at one end of the room, but which can be seen through the skylight if you stand at the opposite end of the room. The artificial ‘sunlight’ is cast against one of the walls in that warm, dramatic and evocative way that bright sunlight enters a room on a sunny day. Professor Paolo Di Trapani, creator and CEO of CoeLux, cites René Magritte’s surrealist painting ‘Empire des Lumieres’ as one of his sources of inspiration. Magritte’s painting depicts a house dimly lit by a street lamp in the dark of night, and above it, a paradoxically bright blue daytime sky. 60 years on from the creation of that painting, Di Trapani’s skylight installation is indeed a surreal experience; installed in a basement room in central London that receives no natural light, CoeLux reproduces the physical effects and optical phenomena of natural sunlight almost exactly. You have to constantly remind yourself that the bright

sunlight pouring through the skylight above is completely artificial. As with Magritte’s painting, there is a kind of paradoxical joy which is felt in experiencing this seemingly impossible simulation of reality. Paolo Di Trapani, a physicist of the Department of Science and High Technology at the University of Insubria in Como, has been working on CoeLux for twelve years but it is only now that the public are getting a chance to experience it. The technology behind the CoeLux combines three key elements: the latest LED technology that reproduces the sunlight’s spectrum; a sophisticated optical system that creates the sensation of the distance between the sky and the sun; and nanostructured materials to mimic the light transmission of sunlight through our atmosphere. Di Trapani and his team created their ‘Optical sky-sun diffuser’ by embedding transparent nanoparticles within a clear polymer sheet. The ratio of blue and red scattering optical densities within this diffuser is designed to recreate the Raleigh scattering process – the naturally occurring process where the light from the sun is scattered off the molecules of the atmosphere. This is what gives the sky its blue hue – Raleigh scattering is more effective at short wavelengths (the blue

end of the visible spectrum). When you look up through the skylight, the chamber above is perfectly sky blue as the white light from the LED sun has passed through this optical sky-sun diffuser making the blue wavelengths more dominant. The areas of the room in shadow also have a bluish hue, which is very similar in a naturally sunlit room. Richard Kelly, one of the pioneers of lighting design, coined his definitions ‘focal glow’ and ‘ambient luminescence’ in the 1950s. He describes ambient luminescence as light “...in any art gallery with striplighted walls, translucent ceiling, and white floor. Ambient light produces shadowless illumination. It minimises form and bulk.” His focal glow “is the follow spot on the modern stage. It is the pool of light at your favourite reading chair. It is the shaft of sunshine that warms the end of the valley. It is candlelight on the face, and a flashlight on a stair… Focal glow draws attention, pulls together diverse parts, sells merchandise, separates the important from the unimportant, helps people see.” In an age of often ubiquitously uniformly lit interior spaces, CoeLux reintroduces the vivid interaction between light and shadow that Kelly would describe as ‘focal glow’. CoeLux describes the ‘bliss and the joy’

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The CoeLux skylight system, developed by Professor Paolo Di Trapani, uses a series of nanostructured materials to mimic the light transmission of sunlight through our atmosphere, delivering the brilliant blue of a clear sky. A sophisticated optical system creates the sensation that the ‘sun’ is far away, tracking across the blue ‘sky’ as the occupant moves through the room below.

of sunny skies and there is certainly an inexplicable positive feeling that is created with the skylight installation. Although it has none of the actual health benefits of natural sunlight – it doesn’t have ultraviolet radiation that works to synthesise vitamin D3 – there is a claim that CoeLux could be beneficial to those who spend extended periods of time in spaces that don’t receive natural sunlight. The idea is that the natural daylight effect of CoeLux will encourage the circadian rhythm that can be disrupted by spending days indoors without daylight. Because of these potential benefits, the CoeLux research project was awarded €2.5m in funding from the European Union under the 7th Framework Programme. Michael Jennings, spokesperson for European Research, Innovation and Science Commissioner Máire Geoghegan-Quinn, said: “Many areas of our lives - from energy, transportation, medicine, food safety, health and well-being - are being enhanced and even revolutionised by nanotechnology. CoeLux is a great example of how science can turn a simple idea that is difficult to achieve – replicating sunlight – into a reality. It clearly has huge potential to make a difference in people’s lives.” Part functional light source, part lightart installation, it has a utopian and

ever so slightly futuristic feel to it. The skylight is designed to be used in interior spaces where there is no natural light. CoeLux expect its application to be used in basement gymnasiums, underground car parks, subways, airports, shopping malls, offices, museums and even small spaces such as elevators or ship cabins. At approximately €40,000 for each skylight plus €10,000 for transportation and installation, CoeLux will almost certainly be used only in ultra high-end developments. Touching on the light-art tradition, CoeLux is reminiscent of James Turell’s installations, in particular ‘space that sees’ or ‘Deer Shelter’, part of his ‘Skyspace’ series, where he creates an architectural space with an aperture in the ceiling that serves to frame the sky. In doing so he creates a space where visitors can meditate on the innate beauty of the seemingly infinite blue sky. It also recalls Olufur Elliason’s 2003 weather project at Tate Modern in London, in which hundreds of visitors basked in the glow of an enormous artificial sun. A year before that, Di Trapani himself was involved in an art exhibition in Como, Italy. In ‘Di Luce in Luce’ Trapani and others ‘reconstructed nature within a gallery, reproducing spectacular optical

atmospheric phenomena, in which light is diffused, diffracted or refracted by the air, the clouds, drops of rain, branches of a tree, etc.’ This exhibition was an early stepping stone in Di Trapani’s research into the replication of natural lighting effects. At the moment, CoeLux is installed in only a few places in the world – one is the IdeaWorks Experience Centre in central London. To enjoy this simplest of experiential pleasures you can get in touch with IdeaWorks directly for an appointment-only visit to their showroom. A room illuminated by a CoeLux 45 solution will also be on display at the Euroscience Open Forum in Copenhagen and at the Architecture Exhibition of la Biennale di Venezia this year. www.coelux.com

Jonathan Morgan is an associate at David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development. design@dmadesign.co.uk www.dmadesign.co.uk © David Morgan Associates 2014

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TECHNOLOGY / LIGHTING CONTROL

The new buzz word is Smart or Intelligent Lighting but don’t get caught up in the hype of wireless this or App that as your lighting schemes could turn into a nightmare and your clients could land you in court!

SMART LIGHTING WHY YOU NEED AN EXPERT

At Light + Building earlier this year I heard so many companies discuss how they now have an intelligent lighting system and they have a great solution that will allow full control of lighting, offer a variety of sensor systems and that can easily be retrofitted using wireless technology so reducing costs drastically. It seemed too good to be true and unfortunately it is proved to be as many of those eager and trusted sales teams don’t fully understand the pitfalls of the technology and its ramifications. And here lies the problem of the current ‘smart lighting’ industry – an unskilled workforce that do not understand IT and security! This month I will give a crash course on what to ask your potential suppliers when clients ask for smart lighting systems and how you need to make sure you have yourself covered. LIGHTING NETWORK SECURITY Unfortunately, when I have recently spoken at events on Smart Lighting or advised several blue chip clients in a consulting capacity, they place Lighting Security very low down their list of project priorities. Even after explaining what could easily happen if the lighting system was compromised by an outside actor (ie; a hacker) then the usual response is that lighting isn’t that important so even if

someone did switch off the lights “its not the end of the world”. I usually respond by saying that if the client had just had their beautiful lighting scheme installed and then five lights were not working on day one, would they complain? Then, on day five another four lights stopped working and so on what would they do? In other words, how would they know if the lighting was working in a smart lighting system or if it had been compromised. Having reviewed the majority of possible control protocols and means for transferring data to devices, the conclusion I have come to is that smart lighting systems should be built on standard IT based hardware infrastructure for the reasons stated in the Table (above right). There are a raft of standard hardware control standards such as: • Ethernet – TCP/IP (wired and WI-FI) • Z-wave • Zigbee • Power Line Control • 6LoWPAN • Bluetooth • DALI/DSI • DMX/RDM • KNX (wired and RF) • And many more

The most popular by far across all sectors is standard Ethernet in the forms of both wired and wireless (WI-FI) and is used extensively from the router in most homes to industrial and commercial IT systems, PCs or Tablets. Thus, my recommendation is that any system moving forward should be based on Ethernet hardware avoiding conversions from one protocol to another as that is where security issues always creep in. For example, if you look at the recent security issue (which has now been patched) of the LIFX bulb, the system converts from standard Ethernet into a 6LoWPAN mesh network and therefore created a security weakness. More information about the weakness can be found at http:// securityaffairs.co/wordpress/26475/ hacking/hacking-lifx-smart-led-lightbulbs-steal-wifi-passwords.html WIRELESS NETWORKING The dark art of Wireless networking is spouted as the saviour of retrofit lighting projects but careful planning is required to deliver a robust wireless control system. For residential controlled lamps from LG, OSRAM, Samsung, LIFX and Philips, the system doesn’t have to be completely glitch free as many of these products connect to the bulbs from a mobile

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Standard IT Hardware

Bespoke/Proprietary Hardware

Skills requirements Low • Electricians know how to wire Cat 5/6 and RJ45 sockets

Skill requirements Medium to High • May need bespoke wiring or routing

Hardware Easily Available • Equipment widely available from a large IT supply chain • Low lead times

Poor Availability of Hardware • Equipment is bespoke so only available from one manufacturer • Long lead times if not in stock

Exceptionally Low Cost • A large IT supply chain means costs are minimised

High Costs • Locked into a bespoke system with minimal/no supply chain

High Security • Majority of IT department understand basic network security • Security built in to Hardware as standard

Uncertain Security • Bespoke systems usually have unknown security flaws • System details are kept secret by manufacturers so allow flaws to be exploited

Defined Standards • IT systems are based around international standard for hardware and security

Non standard • System will be bespoke and so isn’t based around specific standards

device using a gateway. However, for all non-residential applications, robust and secure systems need to be deployed. As a form of electromagnetic radiation, like light waves, radio waves are affected by the phenomena of reflection, refraction, diffraction, absorption, polarisation and scattering, which makes their deployment in real world situations highly dependant on the environment around it. In free space, all radio waves obey the inverse-square law that states that the power density of the radio wave is proportional to the inverse of the square of the distance from a point source so doubling the distance from a transmitter means that the power density of the radiated wave at that new location is reduced to one-quarter of its previous value. In other words, the further away your PC is from your Hub the poorer the signal is and the more errors and lower data speeds achieved. In addition, the frequency that you transmit also effects the robustness of the system so the lower the frequency the easier it is for the wireless to travel through brick and stone and, as the frequency rises, absorption effects become more important. To overcome this issue, mesh networking was created which is a network topology where each node or light fixture (called a mesh node) relays data for the network.

All nodes cooperate in the distribution of data in the network. There are many advantages and disadvantages to Mesh networks. However Zigbee and 6LoWPAN systems both use wireless mesh networking. An issue with Mesh networks (ie; Zigbee and 6LoWPAN) is symmetrical key encryption whereby each node uses the same private keys to be able to relay data. This was the exploitation used with LIFX as the private key was recovered from listening to the Wireless network using free WI-FI tools such as Wireshark. Once the key had been obtained the intruder could effectively control each node! Therefore, if you want to deploy smart lighting systems in the future follow this very simple set of rules: • • • • • •

Choose a partner that understands IT security as well as lighting; Try to avoid control systems that don’t use Ethernet technologies; Try to avoid systems that use Mesh topologies; Avoid wireless solutions where possible. Minimise WI-FI to user control and use wired control where possible; If you do need wireless then use WI-FI for standard encryption; If using private key encryption then use a minimum of 2048-bit keys;

• Place security as your number one priority for all smart lighting systems; • Don’t get fobbed off by suppliers stating their system uses key encryption; • Ask your supplier what IT support they provide for updating the system with security patches etc. They will be needed at some point; • If your control system uses an App then ask to be shown the proof of end-to-end encryption and get it authenticated because if you just run the App with login there is no security between the mobile device and your control system. My warning is that the above advice only touches the surface of what you will need to ask. If you incur any issues then drop me an email. g.archenhold@mondiale.co.uk Geoff Archenhold is an active investor in LED driver and fixture manufacturers and a lighting energy consultant. The views expressed in this article are those of the author and do not necessarily represent the views of mondo*arc.

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TECHNOLOGY / LIGHTING CONTROL PRODUCT GUIDE

SMART ALECS A selection of the latest connected lighting and control solutions.

Wireless Light Control Casambi Connected Lighting Philips Lifx Havells Sylvania This wireless controller is designed to be a practical system for luminaire manufacturers and lighting designers. By simply and easily installing this small unit into a luminaire, it will act to support 1-10V / Dali and light controls for a nearly unlimited number of lights and intelligent scene controls. No new wiring or additional controllers are needed. While supporting wall switches, all major smartphones and tablets are the perfect tools to be used with this product. www.casambi.com

Whether it is to add a beautiful splash of colour to create moods or scenes in a room, or be it to find the right white light to meet your needs, LIFX offers users an astonishing 16 million colours at their fingertips and allows a variety of different scenes to be set to suit moods and tasks. Using a free App in iOS and Android versions, users can control the colour, brightness and dimming levels of their LIFX lamps as well as create scenes. The new Music Visualiser enables the lights to interact with music being played. www.havells-sylvania.com

Lightify Osram

Ingenium Blu Megaman

AOne Control Aurora

Ingenium Blue is the easiest and most economical solution for those looking to introduce smart lighting to their house or commercial space. It offers plugand-play installation with the compatible Megaman LED PAR16, Classic and Integrated Downlight. More interestingly for the professional market, Ingenium RF is a scalable solution offering complete control of any Megaman LED, either locally using a handheld controller, or from anywhere in the world via your smart device. www.megamanuk.com

This system uses Power-over-Ethernet (PoE) to connect office lighting fixtures to a buildingâ&#x20AC;&#x2122;s IT network. The lighting system acts as an information pathway, enabling workers to control and access other building services via their smartphones, allowing them to enjoy greater visual comfort and productivity. The office lighting fixtures, when outfitted with sensors, are able to capture anonymous data on room occupancy, temperature and humidity. They connect to the IT network and interface with other building systems such as heating, ventilation and IT services. www.philips.co.uk

Aurora is providing individually, controllable luminaires with its patented, wireless AONE control module designed to integrate with a wide range of third-party lighting control and smart home systems. It provides in-line, twoway communication directly to each light source, received over wireless protocols and PLC (Power Line Communication) from the module to our hybrid IC technology inside the latest range of Aurora luminaires. AONE control modules are capable of bi-directional communication providing real-time feedback and historical data on the luminaireâ&#x20AC;&#x2122;s activity. www.auroralighting.com

Lightify enables users to exploit a wide range of lighting possibilities using an app on a smartphone or tablet. Lightify simply integrates into existing WLAN networks, and users are able to set a wide diversity of light atmospheres. Lightify enables living rooms and workrooms as well as balconies and gardens to be bathed in a wide variety of light atmospheres using a smartphone or tablet. The scenes can be freely configured and also controlled while on the move. www.osram.co.uk

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TECHNOLOGY / LIGHTING CONTROL PRODUCT GUIDE

Lumentalk Lumenpulse

Unison Echo ETC ETC’s new Unison Echo control for smaller applications without the need for advanced configuration. Ready to use straight out of the box, it is perfect for small and medium sized venues like restaurants, museums, theatres and meeting rooms, and can be used in conjunction with energy saving devices such as vacancy, occupancy and light sensors. Unison Paradigm remains the company’s flagship building control system, providing powerful programmable control for large theatres, conference centres, office buildings and theme parks. www.etcconnect.com

WiFi-Controller HERA WiFi Light Control System allows users to control light any way that is required. Special features include an easy plug-in connection for new or existing installations, the product is also controllable with tablets and every iOS or Android smartphone, while offering free of charge Hera-APP. The product is available for single colour, dynamic and RGB lighting and colour, scene, speed and brightness can all be controlled. This is applicable as a stand-alone-system without an existing WiFi system and an unlimited number of controllers can be used. www.hera-online.de

Lumentalk is a patented technology that enables digital control of LED lighting over existing AC power lines, reducing installation costs and facilitating the conversion to LED lighting. With Lumentalk, electrical wiring becomes a stable, noise-free, high-speed communications link, enabling LED fixtures to be controlled without additional wiring for data. The technology is protocol independent, making it compatible with common dimmer and control standards such as Triac, 0-10V, DALI, DMX and ELV. Pictured is the Blatnik Bridge in Wisconsin, which used Lumentalk to limit the amount of wiring and labour required to modernize the lighting system www.lumenpulse.com

iLight Eaton Eaton’s architectural lighting controls product line, iLight builds on its established transistor dimming technology with the latest SCLED electronic dimmers. Featuring silent operation and no minimum load, these dimmers have been tested and have proved compatible with a wide range of mains dimmable LEDs. Each channel can be set individually for leading or trailing edge operation making them a universal choice. www.iLight.co.uk/scled

ETH2DALI and LAS 7.0 e:cue

DMX/RDM Driver Dimmer Illumination Physics

This flexible and scalable e:cue ETH2DALI control engine integrates both functional and dynamic lighting with state-of-theart control capability. Taking the best out of the DALI world and adding DMX512 capabilities, ETH2DALI bridges the gap between general lighting and creative lighting effects. Remote control is easy via the upgraded Lighting Application Suite (LAS) 7.0, or the intuitive and fully customisable Action Pad App. ETH2DALI, together with LAS7.0, provides the ideal lighting control systems for retail shops, offices and hospitality projects. www.traxontechnologies.com

12 individual remote fixtures (or groups of fixtures), can be driven from this driver. The driver is also configurable to suit different applications. There are four modes of colour - white mode, mono colour, colour and white mode, RGB Mode, RGB + White Mode. The driver can be set to control a variety of LED fixtures using up to four different coloured LEDs per unit. The driver power is configurable to supply constant current in 350mA, 500mA and 700mA. This allows the driver to address a variety of luminaire designs for High Power LED products. This driver is also powerful – up to 500 watts may be used in any one configuration. The RDM capability allows remote configuration. www.illuminationphysics.com

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TECHNOLOGY / LIGHTING CONTROL PRODUCT GUIDE

iDrive IST Lighting

Pulsar DataSplitter DS8 Pulsar The Pulsar DataSplitter is our most flexible data transmission solution ever, now equipped with a mix of 4 XLR3 and 4 XLR5 connectors in a compact 1U rack or truss mountable design. The unit splits any input signal into 8 identical channels extending range and reducing data error over long distances. Each output is fully isolated and protected against mains surges and can be powered from a low voltage DC supply or standard mains input. Designed for DMX but compatible with compatible with signals ranging from DC to 500kHz, DataSplitter features bombproof reliability at a cost-effective price. www.pulsarlight.com

LITECOM Zumtobel LITECOM reduces control processes to a minimum and enables convenient user prompting and intuitive operation by using apps. The linking of controller, touch panel and software in an open system is one new feature. This makes it possible to create, control and monitor fully customised lighting solutions – from any PC, smartphone or tablet. www.zumtobel.com

LPSA-WIFI Stand Alone interface Chromateq LPSA-WIFI Stand Alone interface is the ideal for fixed installation and architectural projects. A complete ethernet compatible Wifi (802.11 b/g/n) to DMX interface was created that can communicate on any standard local network. It also includes a powerful Stand Alone mode to playback scenes without a computer and trigger scenes scheduled by time or calendar. The interface is Windows and Mac Os X systems conpatable and has FCC and CE certification. It can be commanded by the Wi-Light application for all Android and iOS phones and tablets easily (scene trigger + speed, dimmer, colour, pause controls). www.chromateq.com

The feature- packed Ethernet/DMX/ DALI iDrive Force 12 significantly reduces installation and commissioning costs by combining the dimming controller, power supply and LED driver within one integrated unit. Capable of controlling 12 independent output channels at configurable LED currents, the iDrive® Force 12 boasts the widest ever range of dimming control protocols (DALI, DMX, DSI, RDM, Art-Net3 and sACN). Its compact size means it can be installed within ceiling spaces or remote from the fixtures and is fully compatible with the wireless iMune control system. www.istl.com

XAL LC XAL

Pyng Crestron The Crestron Pyng is an app that is also a home automation system in an app. For years, home automation apps have been add-ons to control systems that are programmed using computers. Now, technology integrators can create lifestyle scenes for each room, schedule events, and much more right from an iPad. The whole house can be ready in minutes without ever opening a laptop. Accessories include Crestron wireless lighting controls, thermostats, as well as security systems. A compact hub connects accessories with the app, runs scenes and events even without the presence of an iPad and continuously backs up all home settings to the cloud – so making changes is easy and secure. www.crestron.eu

With XAL Lighting Control an entire lighting system is placed in the users hands. The product enables users to control luminaires directly via an iPhone/iPad. Adjust your luminaires’ brightness, colour and light temperature to every situation possible. Add individual luminaires to groups and scenes and thus make it easier to quickly control them by merely moving a finger. Save your personal settings in databases and transfer them to another iOS-device in seconds. www.xal.com

ETC WEATHER REPORT Take the lights you love outdoors

Great lighting will never get rained out, thanks to ETC’s range of durable luminaires that are IP66 rated for all-weather use: from Selador Desire wash lights with flexible x7 colour arrays and amazing colour control, to razor-sharp Source Four XT ellipsoidal zoom spots. For details, take a look at www.etcconnect.com or contact your dealer for a demonstration.

Americas

Europe

Asia

www.etcconnect.com

Pool Lighting.

Project: Hotel Amanzoe, Greece

Spotlight 4.0012 1 POW-LED 2 Watt 6.000K Stainless Steel IP68

WIBRE Elektrogeräte GmbH & Co. KG info@wibre.de +49(0)7131 9053-0 Leingarten/Germany Anzeige_210x150.indd 1

interlight MOSCOW

Stand 2.E91 11. – 14. November 2014 Moskau IEC

Made in Germany. Since 1919. www.wibre.de

24.09.14 13:39

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TECHNOLOGY / LIGHTING CONTROL PRODUCT GUIDE

Minos System Ghenos

Halcyon Professional Photon Star The ‘Halcyon Professional’ range integrates the PhotonStar portfolio of performance LED downlights with their proprietary technology ‘Halcyon’, a connected lighting platform, to provide wirelessly controlled, circadian, retrofit LED lighting solutions for the professional lighting and technology markets. The range will be the first to offer circadian lighting control, which emulates natural daylight to enable healthier and more productive environments, and is providing new possibilities in technology based on circadian, energy-saving and data-centric applications. www.photonstarlighting.co.uk

Thanks to its innovative technological solutions, Minos turns the outdoor lighting in a new smart grid system. The street lamp becomes a new support able to integrate and activate a wide range of services to improve the quality of life and make the City more smart, safe and eco sustainable. Minos is the system that changes the management and use of outdoor lighting grids. It allows you to constantly monitor systems’ status, obtain details of failures in real time, and decide with flexibility when, where and how much you wish to switch on, switch off or dim every unit. www.ghenos.net

EasyRemote Nicolaudie EasyRemote allows you to create an entirely customised remote controller for your tablet or smartphone. It is a powerful and intuitive app allowing you to easily add buttons, faders, colour wheels and more. The app can control the ESA2 and Sunlite Suite 2 software. It’s also capable of controlling our Ethernet enabled stand alone controllers. Connect to a WiFi network and the app will find all compatible devices. www.nicolaudie.com

StrongPlayer StrongLED StrongPlayer is a LED synchronous real-time Media Player software developed by StrongLED. It is able to map each luminaire site into a pixel location on the display monitor of the main controller. The media playing on the display monitor is also, on real-time, playing on the LED luminaires at site. The powerful software is equipped with a user-friendly and intuitive graphic interface and easily operated by a non-technical person. StrongPlayerTM supports most of the media formats (MPEG, MPV, AVI, SWF, RM, RA, RMJ, ASF, etc) and graph files (BMP, JPG, GIF, PCX, etc). It also supports Microsoft Word, Powerpoint, Access, VCD/DVD media and plug-in external media sources. www.strongled.com

pChrono Arianna LED pChrono is the innovative solution that manages each single lighting fixture and combines in one control sensors, dimming, daylight-linking, time scheduler. A smart and reliable system that integrates temperature, humidity and air control sensors for a unique and comprehensive monitoring. It is available as wired or wireless. pChrono has specific algorithm to manage ON/ OFF loads and offers the possibility to monitor and control single-phase loads with a smart-plug wireless. www.ariannaled.com

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

3D LED Flex 100 system Up to 6,000 Lumens per mtr System adjusts on site to follow complex cove profiles

Heydar Aliyev Centre Auditorium, Baku Architect Zaha Hadid Associates Lighting design MBLD

Design by

Mondo August 2014 half page.indd 1

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TECHNOLOGY / NEW PRODUCTS

GET UP TO DATE A selection of new products available now.

Xooline LED Linear 5727-Alicante LEC Lyon An innovative product which is able to up-light a whole surface: top and bottom, at the same time. LEC’s new eco-designed ground-embedded LED spotlight offers two adjustable plates that rotate at 360°. Both plates enable adjustable angles at more or less 25° with no water-tightness failure. The 5727-Alicante offers homogeneous lighting over a whole surface. It features two separate external plates, these include nine Superwatt LED on each of them, which can be controlled by DMX or DALI. www.lec-lyon.com

Jasper LED Ligman The Jasper range of indoor directional downlights feature high quality LEDs that make this a useful solution for lighting design applications. Glare control is taken into consideration with a soft lighting effect being created via the controlled lens. Key features include variable sizes with a different range of wattages and colour temperatures available in 2700K,3000K, 3500K, 4000K and 5000K with CRI output of >80. Various dimming requirements such as 0-10V, Trailing edge and DALI are offered. www.ligmanlighting.com/en

With a light output of up to 3,895 lm/m from a smallest form factor of 19.5mm x 15mm, this NGL 2014 recognised luminaire comes with a clear, diffuse or opal cover and 10° wall grazing and 30° or 60° general lighting optics. The possibility of choosing different power ratings between five and 36 W/m in combination with the efficiency of latest generation LEDs and high-performance optics makes this luminaire suitable for a wide range of applications in both indoor and outdoor use. www.led-linear.com

xcene LUXINTEC xcene is a versatile high performance LED spotlight, as it enables accent lighting, extensive lighting or wallwashing with a single luminaire. This is achieved thanks to the possibility to incorporate one or two light sources with independent orientation. It allows important advantages in technical lighting projects. www.luxintec.com

Sento LED Occhio

Moodspot TDE-lighttech

Sento is a multifunctional, innovative light tool, with a precise quality of light imaging created by the interplay of next generation LEDs. Luminaire heads with light emission on one or both sides, changeable optical inserts for individual lighting effects and a choice of LED light colours enable users to coordinate the lighting to suit. The product also offers strong colour rendering properties (a CRI of 95) and high efficiency. www.occhio.de/en

The Moodspot is designed to dynamically alter the emotional experience of a space. Its glare free beam allows colour temperate control, ranging from a white (4000K) to a very warm white (1400K). Due to the specially developed and integrated LED driver, the Moodspot dims fluently down to 0%. Multiple beam angles and body versions ensure a versatile and extremely option-rich luminaire, which is well suited for a wide range of applications. www.tde-lighttech.nl

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TECHNOLOGY / NEW PRODUCTS

Capix Zumtobel

Unity Concord

Rol•ls Insta Instalight Rol•ls is a linear suspended, wall or ceiling luminaire in two lengths. The white satined acrylic glass diffusor is backlit by means of the Ledlux LS family, providing for the homogenuous illumination of reception areas, corridors and staircases. www.lightment.insta.de

Like a second skin, the Capix evolution LED matrix clings to a façade. This media luminaire offers flexibility in the illumination of buildings and objects thanks to its two different batwing lenses (140° and 155°). Installation has been made easier, requiring only one data line and one supply line, so that it can now be installed virtually anywhere. Each Capix pixel incorporates three latest-generation RGB LEDs, which results in a bright and brilliant lighting effect even when viewed from long distances. www.zumtobel.com

Unity can be configured to create varied overhead lighting patterns in triangular, square, rectangular and straight run formations, including a change in level such as stairwells. Available in 1.2m, 2.4m and 3.6m lengths, Unity comes in both white and silver finishes. Horizontal and vertical couplers are available to manipulate Unity into precise configurations, perfect for applications where space is limited. The new mid-power LED technology housed within Unity, has allowed for the creation of a compact form factor which is also highly-efficient. www.havells-sylvania.com

ADVERTISERS INDEX Anolis.................................................. 97 Applelec........................................... 105 Atex.................................................... 69 Aurora................................................ 6-7 Bega................................................... 23 CLS..................................................... 10 David Morgan Associates................. 155 Delta Lighting................................... 159 Dial..................................................... 57 ERCO.................................................. 21 ETC................................................... 153 Fuhua Electronic .............................. 113 Griven................................................. 19 Harvard............................................... 15 Havells-Sylvania.................................. 63 Huda Lighting................................... 107 IALD.................................................. 127 Illumination Physics........................... 4-5 Innermost......................................... 159 Insta.................................................... 73 Intralux................................................ 61 ISTL................................................... 155 KKDC.................................................. 35 Kopa Global..................................... 113

Lamp ................................................ 163 LEC-Lyon.................................. 137, 159 Leccor............................................... 113 LED Linear........................................ 164 Lee Filters .......................................... 99 Light Middle East................................. 8 Lightgraphix....................................... 14 Ligman................................................ 12 Lucent................................................. 29 Lucifer................................................. 51 Lumenpulse........................................ 33 Luxintec............................................ 119 Macron............................................. 119 Martin................................................. 93 May Design Series......................... 54-55 MBN................................................... 91 Middle East Lighting Summit .......... 149 Neo-Neon........................................ 137 Neonlite.............................................. 89 Nexo Luce.......................................... 67 Nicolaudie.......................................... 11 Occhio................................................ 25 Orlight.................................................. 2

Philips................................................. 27 PLDC.................................................. 76 Pulsar.................................................. 39 Recolight.......................................... 111 Recom Power................................... 151 Remote Controlled Lighting............. 123 Rising Dragon Technology................. 16 Roxo Lighting..................................... 53 SAT................................................... 111 Schréder............................................... 9 Signcomplex..................................... 141 Sleep Event...................................... 157 SLL...................................................... 43 Speirs & Major.................................. 159 StrongLed........................................... 75 Studio Due......................................... 17 Teknolight........................................... 13 Traxon & e:cue.................................. 117 Unilamp............................................ 135 WAC Lighting..................................... 41 Wibre................................................ 153 Wuxi Jinshun Lighting...................... 125 XAL....................................................... 3

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK The US annual subscription price is USD105. Airfreight and mailing in the USA by agent named Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage pending at Jamaica NY 11431. US Postmaster: Send address changes to mondo*arc, C/O Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA.

Delta Lighting Solutions, an award winning lighting design consultancy based in Dubai is seeking creative and enthusiastic designers to join our international design team. Design Director (London) Candidates should have a University Degree either in Architecture and / or lighting design and a minimum of 15 years of experience in lighting design in London. Candidates must have worked on a broad spectrum of projects and show strong experience in managing projects and design teams. Candidates must be all rounded individuals with a strong flair for design, organization skills, people management skills and business acumen. The position will require regular travel. The package offered will include a very competitive annual package plus a bonus based on yearly profits. Senior Lighting Designers (Dubai) Candidates should have a University degree – either in Architecture, Interior Design, Lighting Design or Product Design and a minimum of 10 years of lighting design experience. Candidates must have strong organizational skills, project management experience and should be highly creative with a passion for design. Yearly package offered will range from 240,000 AED / $65,000 to 275,000 AED / $75,000 per year. Please note that no income tax is payable by UAE law. Please send you CV and portfolio to: Ziad Fattouh, ziad@deltalighting.ae and patricia@deltalighting.ae www.deltalightingdesign.com

Contract Sales Consultant Speirs + Major is an award winning design practice that uses light to enhance the experience of the visual environment. We are recruiting for: Assistant Designers – London Assistant Designer Internship – Edinburgh Applications should be made in writing and include samples of work that demonstrate both your passion for light and your thinking and ability to communicate light through a range of media. On application please illustrate your ability to hand sketch and experience in using Photoshop, AutoCAD and 3D software. Previous experience of lighting design is preferred but not essential. Salary and benefits will be commensurate with ability and experience. Applications should be sent to: opportunities@speirsandmajor.com Strictly no agencies. Speirs + Major are an equal opportunities employer.

Innermost are seeking a Contract Sales Consultant to join our London Office, to work with architects and interior designers on a range of projects in the UK and internationally. In this role you will be expected to grow our contract customer base to meet sales targets, develop relationships with new and existing customers, providing them with a quality, knowledgeable and efficient service, as well as securing new orders and project managing them effectively through to delivery. You will have a minimum of 5 years contract sales experience in the same or related industry, a strong knowledge of contemporary lighting and furniture, the highest levels of professionalism, exceptional communication and organisational skills. Remuneration package will reflect level of experience. With our ambitious growth plans this is a fantastic opportunity for an enthusiastic and proven salesfocused individual. Please email a cover letter stating why you should get the position with your CV to contractsales@innermost.net www.innermost.net