mondo*arc Febuary/March 2016 - Issue 89

mondo*arc magazine

T H E I N T E R N AT I O N A L M AG A Z I N E F O R D E S I G N E R S W I T H L I G H T

#89 2016

EARTH TUBES, NOMA issue 89 * February/March 2016

TUBULAR BELLES NOMA EARTH TUBES BREATHE LIFE INTO NORTH MANCHESTER PAULE CONSTABLE • ARCHITECTURAL LIGHTING DESIGN IN THEATRE FESTIVALS OF LIGHT • CASAMBI BENCH TEST • LIGHT+BUILDING PREVIEW

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The Lumenpulse family continues to grow‌ Introducing Exenia

Join the team in Hall 1, Level 1, Booth E20.

Exenia is the latest addition to the Lumenpulse family! Based in Italy, Exenia combines decades of lighting experience and expertise to offer a versatile portfolio of interior architectural LED solutions. The brand’s comprehensive range of products, including suspended and wall mounted luminaires, downlights, spotlights, and lighting systems, will be showcased at Light + Building 2016.

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Macau’s newest premier destination – Studio City.

THE ILLUMINATION OF STUDIO CITY MACAU Hollywood has come to Macau with the opening of the newest attraction, Studio City.

Inspired by epic movie themes, Studio City stands out as the most dramatically themed resort on the Cotai Strip.

The facade lighting of Studio City has been a single all-encompassing project for illumination Physics, from concept to completion. The lighting design and the purpose specific design of the fixtures manufactured and supplied by Illumination Physics include over 12,000 luminaires for the podium and towers. A modern and 100% LED treatment for a grand Art-Deco architecture, included wash lights, back lights and media dots, all created specifically for the project as part of an Illumination physics total design and build solution. The control system design and installation and the programming and content creation complete the circle of responsibility for the visual outcome.

Illumination Physics is a project focussed total service provider.

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CONTENTS

[feb/mar] Front cover pic: NOMA Earth Tubes by David Lake Photography

062 Interview mondo*arc speaks to Paule Constable, winner of Olivier and Tony awards for her work in theatrical lighting design.

Pic: Jane Hobson

DETAILS 030 Editorial Comment Looking back to the year just gone and what lies ahead.

032 Headlines The latest architectural lighting industry news.

034 Eye Opener Through No. 3 by Liz West.

036 Drawing Board Our preview of proposed projects.

040 Spotlight A selection of brand new projects from around the world.

050 Briefing We talk to Kerem Asfuroglu about his love of lighting design and graphic novels.

052 Snapshot Presenting PLANLUX. 054 Architect Interview mondo*arc talks to Yoshi Tsukamoto of Atelier Bow Wow to discuss his views on lighting in architecture.

062 Lighting Interview mondo*arc talks to Paule Constable.

258 Inspirations Mandala, a multidisciplinary design studio based in Dehli, India.

ART & DESIGN

TECHNOLOGY

156 Dark Source Stories The latest installment in Kerem Asfuroglu’s dark vision of light.

158 Lumiere From Durham to London, Artichoke organises

194 IALD Column Paul Beale explains the importance of being prepared when looking for the perfect job in lighting design.

196 Geoff Archenhold

two Lumiere light festivals in two months.

166 Amsterdam Light Festival mondo*arc editor Paul James was on the judging panel to choose the installations.

172 Enlighten Manchester The festival of light transformed the city’s public spaces into a cultural celebration.

178 Lewes Light Festival Taking over Lewes in South-East England, the festival aims to promote the town’s history and beautiful architecture.

180 Loomings David Ogle’s Loomings encapsulates the artist’s desire to escape the built-up world we live in.

186 Pixel Flow Claudia Paz Studio’s latest light art installation.

190 Timeless Elegance ACT Lighting Design’s installation illustrates the concept of the suspension of time.

192 Levity Henk Stallinga’s Levity exhibition transforms product design into sculptural works of art.

Dr Archenhold investigates smart lighting products.

198 Rethink the Night!

The International Lighting Design Seminar on Kea, Greece saw the Hellenic Illumination Committee create Rethink the Night!, aimed at developing night friendly lighting techniques.

200 Case Studies A selection of innovative lighting projects from suppliers including: Lightworks, Prolicht, A&O Technology, Concord, Acclaim Lighting, Grupo MCI, RCL, ERCO, Insta, Griven, Aion LED, CLS, LEC-Lyon, Osram, Tridonic, Lug Light Factory, Lumenpulse, Soraa.

236 Bench Test David Morgan looks at the Casambi app for smartphones and tablets.

239 Light + Building 2016 Preview A preview of some of the big product launches set for launch at Light + Building 2016.

Visit us at

Light+Building 13-18 March 2016 Frankfurt am Main

Pictures by George Fakaros™

Hall 4.1 Stand C10

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CONTENTS

[feb/mar] 074 Online National Theatre, London by Haworth Tompkins and Atelier Ten. www.mondoarc.com

Pic: Philip Vile

PROJECTS 074 National Theatre, UK Outlined by environmental design consultants Atelier Ten, the lighting of London’s newly refurbished National Theatre has transformed it into a place of artistry and community.

082 Ryan Centre, USA Goettsch Partners’ Ryan Centre for the Musical Arts has been brought to life by Schuler Shook’s integrated lighting scheme, which marries illumination with art and music with design.

PROJECTS 104 Victoria Grande Fort, Morocco DCI lighting practice enhances the restoration work taking place by Chacel 8 Architecture through unobtrusive design.

118 German Gymnasium, UK Paying special attention to the building’s spectacular architecture, Into Lighting’s illumination of London’s German Gymnasium restaurant is sympathetic to its history.

090 Mehr! Theatre, Germany With lighting design from Jack Be Nimble distinguishing flexible realms within a historical building, an unforgettable theatre experience has been created.

124 Hilton Schiphol Hotel, The Netherlands dpa lighting consultants developed an advanced LED lighting system that works to create a variety of atmospheres within the hotel.

096 NOMA Earth Tubes, UK Cundall Light4 was appointed by The Cooperative Group and Hermes to provide the lighting design for three earth tubes at the new Co-op Group office building in Manchester.

134 Deirdre Dyson Showroom, UK Lighting Design International has created a lighting design that works within the minimalist architectural space, reinforcing Deirdre Dyson’s reputation as a contemporary designer.

PROJECTS 138 HSBC HQ Atrium, Hong Kong With clean lines of light used to emphasise the striking Foster + Partners architecture, the main banking hall of HSBC’s HQ in Hong Kong is the recipient of considered architectural illumination by MindsEye Lighting Consultants.

142 Grace Farms, USA BuroHappold Engineering’s lighting team worked alongside SANAA and Handel Architects to create a unique space for the arts and community of New Canaan, Conneticut.

152 Guastalla Kindergarten, Italy Mario Cucinella Architects has created a unique space for children to learn and discover at a new kindergarten in the Reggio Emilia region of Italy. A delicate lighting design that achieves a high level of environmental standards was achieved through a considered approach.

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[editorial] Paul James, editor, writes: Theatre has always been an important breeding ground for architectural lighting designers. There are many award winning designers who now practice in the built environment that owe their skills and passion to an initial career in an environment much more transient in nature. Architectural lighting designers work with other designers and clients to create the correct ambiance through practical, working designs; the two sectors of the lighting design profession utilise many of the same skills. Some, of course, thrive in theatre and quite clearly wouldn’t want a career in anything else. You get the impression that one such person is Paule Constable, the Olivier and Tony Award winning lighting designer of such productions as The Curious Incident of the Dog in the Nighttime, War Horse and Wonder.land. Lighting is a very diverse medium, from theatre to architecture it can be manipulated to impressive effect and Constable is very aware of the influence that architectural lighting design has on her. Talking of Speirs + Major, a firm staffed with talent drawn from the worlds of theatre, cinema, illustration, lighting technology and graphic design as well as from architecture and interior design, she shows her admiration: “I’ve always really loved their work because it’s story driven. I love their relationship to landscape and talking to them, I was fascinated to see how similar their thinking was to mine. I look at architectural lighting design, particularly in interiors - it can be quite functional or it can be quite transcendent”.

With a strapline like ‘Designers With Light’ we make no apology for featuring a theatrical lighting designer on our pages. We can learn a lot from the medium and I know many of you have and still do. After all, you often get to create magic with your schemes, just like Constable does in her theatrical work.

Helen Fletcher, deputy editor, writes: As a biennial event, this year’s Light + Building will be my first.

Although not my first time visiting the Messe Frankfurt, I have heard the tales; been warned how sore my feet will be by the end of it; and was already well aware of the show’s reputation and scale - even before entering the architectural lighting industry. So Frankfurt, I have great expectations and I’m looking forward to seeing what innovations will be introduced to the world of architectural lighting. If the sheer size of this issue is anything to go by, I won’t be disappointed... Alongside our Light + Building preview, project wise we’ve got some outstanding theatres that use architectural lighting to create a drama rich setting starting with the National Theatre in London on page 74; the Ryan Centre in Chicago on page 82 and the Mehr! Theatre in Hamburg on page 90. We also take a look at the work of DCI lighting practice on darc awards entrant Victoria Grande Fort on page 104; a first look at dpa lighting consultants’ work with Mecanoo on the new Hilton hotel at Schiphol airport on page 124; and BuroHappold’s stunning work at Grace Farms in New Canaan, USA on page 142. This issue also features a whole host of festivals of light in our Art & Design section starting with Lumiere London on page 158. I mustn’t forget our second big interview this issue - as well as chatting with Paule Constable, Laurence Favager spoke with Yoshi Tsukamoto from architectural practice Atelier Bow Wow, turn to page 54 to read more. This is merely a snippet of great reads you’ll find in this bumper issue, so enjoy and we’ll see you in Frankfurt!

Editorial

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news headlines

iGuzzini UK promotes Griffiths to Retail Development Director

WILA joins Nordeon Group (The Netherlands) – Making use of WILA’s reputation in architects and specification market, Nordeon Group’s acquisition of interior architectural lighting brand strengthens its position as international lighting company.

Read the full story online...

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

(UK) – David Griffiths has been promoted to Retail Development Director of iGuzzini UK after being National Retail Development Manager for ten years.

Read the full story online...

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ETC announces new regional manager for Middle East (USA) – After previously establishing Stage Electrics’ Dubai branch, Darren Beckley brings to ETC wealth of experience working in lighting and stage technology industry across Middle East.

Read the full story online...

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Crestron appoints Head of Operations and Logistics EMEA (USA) – Based in EMEA Headquarters in Belgium, Stefan Bendfeldt brings 20 years of logistics management experience to control and automation system manufacturer.

Read the full story online...

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Shanghai Feilo Acoustics acquires majority stake in Havells Sylvania

IALD Lighting Perspectives at Light + Building 2016

(China) – Feilo and Havells Holdings agree on 80% stake to create new global lighting organisation Feilo Sylvania.

(UK) – One-track conference to offer two-days of free seminars plus Designers Lounge and art installation from artist in residence Liz West.

Read the full story online...

Read the full story online...

The Lighting Practice grows (USA) – Caitlin Bucari promoted to Project Manager, while John Conley and Lauren Tyler join as new members of design team.

Read the full story online...

7 In pictures

the latest news online

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scan QR code to link to

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1 Mike Collett, CEO of WILA 2 Darren Beckley - ETC’s new Regional Manager, Middle East 3 David Griffiths, Retail Development Director of iGuzzini UK

4 Souvenir of Feilo from Sylvania International Growth Conference 2016 5 Stefan Bendfelt, Head of Operations and Logistics EMEA at Crestron 6 Liz West - Your Colour Perception 7 Caitlin Bucari, John Conley, Lauren Tyler

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eye opener

Through No.3, Manchester, UK Commissioned by Castlefield Gallery and Allied London, Manchester-based artist Liz West created a brand new art installation for Crown Square, Spinningfields at the end of 2015.

Standing six-metres long, Through No.3 was a triangular prism of light and colour, continuing the artist’s exploration of the relationship between the two mediums as primary material for artwork. Passing through the triangular passage, visitors see the world around them transformed by saturate colour as the transparent walls create an array of different hues, altering the colourations of the outside world.

Pic: MDP Photography www.liz-west.com

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

GOING UNDERGROUND Lighting practice Nulty has supported architect and urban designers Studio Egret West in delivering a design manifesto that will build on the iconic brand of the London Underground for the next generation of stations within the LU Station Design Idiom (LUDI).

Nulty was appointed to deliver the lighting concept, using light as a tool to create ambiance across the stations, building on the core aspects of safety and functionality.

With built up layers of light that will aid passenger flow and define important areas, the lighting approach adds depth, texture and drama to create station spaces that have impact.

The lighting within the Idiom considers the way staff and customers move around and perceive space. This is achieved by an increase in contrast and small increase in average light levels, as well as the improved application of vertical illuminance. By

overlapping several layers of light, Nulty has also introduced colour temperatures that will radiate warmth throughout the Underground spaces.

By moving away from a homogenous approach to lighting currently found within the Underground, and replacing it with a soft ambiance, commuter stress and fatigue should be diminished.

Alongside engaging the senses, the lighting defines platform edges, entrances and exit points and accentuates the curves of the tunnels to create atmosphere.

Energy efficient and sustainable lighting, in line with London Underground lighting standards, is used.

Paul Nulty, Founder of the lighting practice, commented: “To deliver a new lighting philosophy for such an iconic part of London’s DNA has been an incredible opportunity for the Nulty team.”

Chris Bonner, Head of Customer

Environment and Design, London Underground, added: “We knew that light and the creative use of lighting would have a transformational impact on our station environments and our customers’ perceptions of these spaces, but to go beyond the functional, we needed a new philosophy. Nulty was the perfect partner, working closely with internal experts on the new approach, which considers layers of light to help orientate customers, highlight key pieces of information and animate historic features.”

The new lighting philosophy forms part of Transported by Design - a campaign by TfL that explores good design on the transport network and its role in the lives of the millions of customers who use it each day.

The LUDI is set to be published this year as an edition for purchase by members of the public. www.nultylighting.co.uk

WHAT DO YOU LIGHT ?

DART Targetti has extended their portfolio of architectural lighting solutions with a new range of outdoor floodlight projectors: DART. The compact design fits easily into any environment and offers a versatile array of luminous flux and output in both small and medium versions. A full range of powerful optics and aesthetically coordinated accessories make DART the ideal solution to illuminate both large areas or provide accent lighting.

DART is an ideal solution for lighting design - precise and efficient, yet extremely versatile.

DART - technology & design crafted by Targetti.

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[drawing board]

UNDERLINING MIAMI Horton Lees Brogden Lighting Design is currently collaborating with James Corner Field Operations to establish illumination strategies for the ten-mile Miami Underline linear park in the US, which will detail the typical path approach and its adaptation to multiple feature areas. The Underline is organised in outdoor character rooms, each of which has its own character and function. HLB designed a flexible lighting scheme that gives capability for adaptation of the illumination to the requirements of each specific room.

The typical Underline path transverses many diverse urban landscapes, which include residential neighbourhoods, business districts, the University of Miami and a variety of challenging intersections.

Normal operating will be dimmed to 50% and each light pole will have a sensor that brings the light to full output when motion is detected. This feature allows for energy savings along the ten-mile spine, maintains low light levels in residential areas, and notifies cars and pedestrians when there is a presence on the path.

Friends of the Underline, the nonprofit organisation that is fostering the design, is currently looking for funding for the entirety of the project. In the meantime, many of the feature areas are expected to begin the formal construction documentation process. www.HLBlighting.com

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Pics: Artist, Ronaldas Buozis, Allisamazing

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

INTRASTELLAR The Star is a five-storey lighting installation by architect-artist Jun Ong, created as part of Urban Xchange Festival in Butterworth, Penang, Malaysia. Inspired by the notion of glitch, a twelve-sided starshaped installation appears almost as an error or temporary irregularity, suddenly finding itself lodged within the concrete superstructure of an unfinished building by the street of Raja Uda. The term glitch is used to describe a spike or change in voltage in an electric current, first recorded in a space program. It is a manifestation of the sterile conditions of Butterworth, a once thriving industrial port and significant terminal between the

mainland and island. The odd juxtaposition of Star with its host creates new relationships, both tangible and intangible.

The installation is an accumulation of digital and analogue irregularities, becoming a transient portal to a new dimension. Comprised of five hundred metres of steel cables and LED strips, Star abstracts kitsch street decorations with electrical cables, transposing them into a formal, recognisable entity. The cables are anchored to the ground, slabs, cantilever beams and adjacent buildings to form the overall shape. As one steps closer, the installation segregates itself into several floors, each becoming its own spatial

experience. The form breaks down into glowing lines, each fragment holding its own electrical and structural characteristic.

The spatial installation is a speculation for the future of Butterworth, connecting various existing dimensions on familiar terrains to unearth new relationships.

The project was curated by Eeyan Chuah and Gabija Grusaite from the Penang-based contemporary art centre - Hin Bus Depot, which earlier this summer showcased a virtual reality sculpture garden entitled Virtual Borders: Arizona. www.jun-ong.com

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Pics: Trafik

REAL-TIME INTERACTION 160, a real-time light installation, was created for the Asian Civilizations Museum at Singapore during the River Nights Festival in October 2015 by French creative studio Trafik, based in Lyon.

Co-produced by Tetro with sound design from Maize, 160 is a light and sound installation of 60-metres long, four metres wide, and three metres in height, composed of 20 frames. Each frame is composed of eight light tubes, for a total of 160 total light tubes. The basic idea behind the project was to create a large scale installation that could be seen from afar as well as from several point of views.

The installation creates animated graphics

and visual perspectives that alter the perception of the basic volume.

Visitors could play in real time with the installation by using a touch pad, interact with it in three ways. Firstly, in colour mode, users could choose the colour of the frames. Then, in animation mode, they could choose from a dozen animated sequences. Finally, in music mode, they could compose their own light and sound sequence. In combining all three modes, 160 became a real instrument of light and sound that could be explored and walked through. www.lavitrinedetrafik.fr

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[spotlight]

A BRIEF HISTORY OF TIME The clocktower at the heart of the Kirkstall Bridge shopping development in Leeds, UK, was created as a response to the industrial history of the area. The screen-printed glass cladding features images of industrial artefacts and processes specific to Kirkstall.

Each visual component of the clock mechanism is created from photographs of surrounding industrial elements: the pendulum - a forge-made vehicle axle and the clock face - the original Thrift Stores clock. The clock tower itself is wrapped in an image of a woollen spool, reflecting the blanket making and textile fulling activities carried out nearby.

James Poore Lighting Design (JPLD) was appointed by the artist and creator of the tower, Kirsty Brooks, to develop a subtle lighting scheme that emphasised elements described in the narrative while helping to establish the piece against a visually busy backdrop.

The clock face lighting is tuned to the daylight ambient level, ensuring it’s comfortable to view regardless of the time of day.

In appreciation of the industrious energy of the site and the people who occupied it, the internal lighting is changed to loosely reflect our natural body rhythms; cooler white light in the morning with a blue light fade on the hour, moving through to a red fade at midday and to a warmer white into the afternoon. All the time subtly backlighting the stunning glass work by Brooks and bringing the story to life, giving different views and aspects depending on the light passing through, be it natural or artificial.

The sound and rhythm of these processes and machinery provided an ever-present backdrop to the lives of workers and residents of Kirkstall. The clock tower reflects this rich history, providing a visual link to the past.

The design and treatment of the glass was adapted in conjunction with JPLD’s lighting concept to maximise the light transmission and diffusion as well as concealing of the luminaires and controls.

A simple yet robust scheme was created using RGBW linear luminaires to achieve the internal lighting and back lighting of the main glass, with a dimmable LED sheet solution through a semi-opaque diffuser used to backlight the two clock faces.

The whole system is programmed and controlled via a basic Pharos control unit housed in an enclosure in the base with a daylight sensor on top of the tower to monitor changes in ambient light level. www.kirstybrooks.co.uk www.jpld.co.uk

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[spotlight]

Pics: Daniel Iregui

LED LIGHTNING BLITZFÄNGER is an interactive installation that allows up to nine people to create and control lightning on a large-scale AHL C1 Cross-Mesh LED screen. It was created by Iregular - a Montreal-based studio founded in 2010. Working at the intersection of art and technology, the studio approaches design using a code-driven and realtime mindset. Creators of audiovisual experiences for installations and websites, its work combines geometry, typography, light and sound with software, mathematics and algorithms. The result are systems with infinite possibilities, making every instant of its projects unique.

As a homage to the power of nature and an attempt to control it, in BLITZFÄNGER the audience is invited to grab one of the three-metre poles from the floor and

position them vertically like lightning rods.

As soon as they do, a system detects their position and lightning appears on the LED screen allowing them to control them with their movement.

This project was created as part of the Human Futures program of artistic exchange between Europe and Canada and wunder the ‘living spaces’ curatorial theme. BLITZFÄNGER took place in 2015 at the entrance of a new residential complex outside of Vienna, Austria in between the train and the buildings and was designed to disrupt the routine of the inhabitants that enter and leave the complex on a daily basis, allowing them to get to know, or at least see, the people they live amongst. www.iregular.io

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[spotlight]

Pics: Courtesy of Intel

RECORD BREAKERS Since 2012, Austria-based Ars Electronica Futurelab has been working on the Spaxels Project - an army of LED-studded quadcopters that autonomously execute preprogrammed formations.

Many experts who were initially invited to collaborate on this project decided to take a pass on the opportunity. However, in September 2012 at the Linzer Klangwolke, a multimedia extravaganza spanning the Danube, a group of 50 illuminated drones ascended to form a huge eye in the night sky.

Following this, in conjunction with the promotional campaign preceding the premiere of Star Trek – Into Darkness, Paramount booked the Linz-based drone swarm to perform at London’s Tower Bridge.

Then followed airborne performances in

Bergen, Norway at the International Bergen Festival, 2013; Ljubljana, Slovenia at the Ljubljana Festival, 2013; Umea, Sweden at the official opening celebration of the 2014 European Capital of Culture; and finally Linz, Austria at the 2015 Eurovision Song Contest.

In autumn 2014, the Futurelab team was approached by Intel for an idea they called Drone 100. From here, in pursuit of a world record in November 2015, following years of R&D work and appearances in cities that resulted in global media coverage, the team effort to put a totally autonomous group of 100 drones aloft was crowned with success on 4 November, 2015. An on-site adjudicator from the Guinness World Records made it official that Intel in collaboration with Ars Electronica Futurelab now hold

the world record in the category Most Unmanned Aerial Vehicles (UAVs) Airborne Simultaneously.

“Drone 100 was a crazy idea that came out of a hallway conversation inside Intel, and now it is a reality,’’ said Anil Nanduri, GM of New Markets, Perceptual Computing, Intel.

“Working with Ars Electronica Futurelab, we were able to create a formation of 100 UAVs in the sky, creating amazing images and ending with the Intel logo.”

“One rarely experiences moments in which it becomes crystal clear how important and rewarding it can be to defy all the naysayers, to steadfastly pursue a vision and to work unwaveringly for years to bring it to fruition,” concluded Horst Hörtner, director of the Ars Electronica Futurelab. www.aec.at

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[spotlight]

Pic: Lennart Johansson

PUBLIC POWER In October 2015, in cooperation with the City of Stockholm, ÅF Lighting conducted a lighting event in the Norra Djurgårdstaden area, also known as Stockholm Royal Seaport.

The event came about as a result of the City of Stockholm winning a free lighting design proposal in a contest organised by ÅF Lighting in late 2014. Devised to raise public awareness of the importance of light

and lighting design, the Win a Lighting Makeover contest formed part of the official programme for the UNESCO International Year of Light 2015.

In its winning proposal, the City of Stockholm nominated two historic gas holders in the Royal Seaport area. Here, extensive urban development is taking place, with plans for 12,000 new homes, 35,000 new work spaces, infrastructure,

amenities, and facilities for arts and culture. Having discussed various options and lighting scenarios, the parties decided to organise a lighting event where members of the general public would help create temporary installations, in cooperation with professional lighting designers and a photographer. In this way, the group of 130 volunteers would experience the transformative power of lighting design first hand. The lighting scenarios were documented with long expose photography and shared with the general public. Using powerful hand held LED torches, filters and a so-called pixel stick, four dramatic and playful lighting scenarios were created, transforming the usually dark historic industrial area for the evening.

“I’m delighted with the results. We created art together,” said Kai Piippo, Head of Design at ÅF Lighting. “Using light, we managed to bring out the soul and the architectural character of these fascinating sites.”

“People love seeing these spectacular buildings up close. When we invited the public to register online for the event, it was fully booked almost immediately,” concluded Staffan Lorentz, Head of Development of Stockholm Royal Seaport. www.af-lighting.com

13-18. 3. 2016 | FRANKFURT AM MAIN

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[briefing] Having recently been awarded the PLDR Best Newcomer award Kerem Asfuroglu talks to mondo*arc about his inspiration and his work as both a lighting designer and graphic novelist.

How did you get into lighting design?

Curiosity. Anyone who is keen on understanding the ways of altering perception will eventually find themselves exploring the alchemy of light and shadow.

Why did you join Speirs + Major?

Passion. I became familiar with Speirs + Major’s work while studying my masters course at Wismar University. I was only a student when I first saw my future directors Mark, Keith and Jonathan present together at PLDC, Berlin. Clearly the quality of their work was outstanding but that was not what got to me – it was their explosive energy and passion. I said to myself, “I want to work with these guys.” It’s been five years and I’m still a happy member of this family.

What do you enjoy most about your job?

Storytelling and creative freedom. I love stories - who doesn’t? If you think about it, we have massive film and music industries that are built on this. From way back in the distant past when we gathered around the fire to shelter from the dark of the unknown, stories have spoken to us, cutting across social and cultural differences. As lighting designers we get to tell stories of people and places using brightness and darkness. Playing with such an ethereal medium while creating a physical manifestation and a visceral effect is something that still blows my mind sometimes. You may have the courage and talent to tell a good story yet lack the freedom to speak. That comes with working with the right people and for the right people. That said we must also be mindful that there are limits to what we can convey with light, just like light itself has a limit in its speed. After all, what does a rainbow mean to a blind person?

What’s a favourite project you’ve worked on up to now?

Light Echoes. I have been lucky enough to work on many fantastic projects of varying scales while I have been at Speirs + Major - from Covent Garden’s site-wide lighting improvement through to Shakespeare’s New Place in Stratford Upon Avon. Often though, I find that the real champions are the tiny projects - the ones that no one has ever heard of. In 2013, a group from Speirs + Major worked on a temporary light installation for Canning Town’s Light Night. It was an interactive sound and light piece composed of a ring of nine tom-tom drums. We located these drums under

the A13 flyover where we had the luxury of finding a pocket of wellpreserved urban darkness to play with. Light was projected through the water filled drums. When they were played, the water in each drum was agitated, producing pulsating patterns of light on the underside of the flyover.

You were recently awarded the PLDR Best Newcomer award. How pleased were you about this?

Over the moon. It is great to be recognised for something I consider to be a compulsive disorder that I am wired with. The list of people to thank for getting me there is far too long. There is a sense of overwhelming contentment when people appreciate you for being you.

You are also a very talented graphic artist. How did this develop?

Comics and films. I read a shit load of comics when I was a kid. They took me to an alternative reality where things were less lucid. This is what happens when you are brought to see The Terminator at the age of three by your Grandma, who is the craziest artist I’ve ever known. I still get inspired by her flaming passion for creativity.

Your artwork has been published in mondo*arc and it was used for the 2015 darc awards. How good is it to see your work published?

Fantastic. Comics are like a type of meditation for me, they provide a place for my imagination to run riot. I’ve been amazed at how supportive people have been about the crazy decision of mondo*arc to include two pages of comics in the magazine. Boldness of the magazine has given me a chance to communicate my influences to people. Good or bad, people have an opinion about it. This is what I love about art. It’s approachable but viral.

So lighting designer or graphic novelist? What’s the future?

Unknown. I really enjoy my job but I also get most of my inspiration from things outside of the lighting world - from science, art and literature, to music and comics. I can’t help but think that the moment you put a title on yourself, you potentially close off interesting and exciting new avenues.

Regardless of how I express my view, I hope that I’ll constantly be exploring the issues that move me. darksourced.tumblr.com facebook.com/darksourced

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[snapshot] Established in 2008 by Korhan Șișman, PLANLUX is an Istanbul-based independent architectural lighting design studio with a backround of interior architecture and environmental design. It consists of independent lighting design professionals who put smart and practical approaches, combined with architectural creativity, to practice.

HILTONSA ANKARA ANKARA, TURKEY Situated in the main business district, the Ankara, HiltonSA hotel has been a central and cultural point for the visitors and residents of Ankara for nearly twenty years. In 2012, the investor decided to renovate the building, in order to update the interior atmosphere and style to cope with other new developed high level hotels in Ankara. PLANLUX believe that, with an affordable budget, it helps transform the design without losing the spirit of the place, considering sustainability and the use of local sources.

From the main enterance, the lobby welcomes guests with semi-permeable spaces. The main space has a great height, defined by wooden slats, where the light levels vary during the day because of

direct natural light coming from above. In addition, looking north, the big glass façade of the entrance is covered with wooden slats in order to minimise daytime glare balanced with backlighting. It features an adaptive artifical lighting design with custom-designed luminaires with strong glare control, creating visual quality and comfort all day and night. An effective and adaptive light control system helps to create the moods. Certain definitions needed to be created, with soft transitions from space to space, where the guests have a great angle and depth of view in all areas.

Suspended in the space, sparkling luminaires give charm to the entrance, supported with trackspots to balance the aerial atmosphere.

The reception desk reflects the quality of the design with a definition, differentiated with contrasted graph-cut panels in the backround, maintaining balance.

The Lotus bar reflects the mood of comfort for 24 hours. Corridors surrounding the main space the ending has also been defined by bookshelves - reading and comfortable seating additional to circulation. The main restaurant, which has a history of Turkish cusine for Ankara, was also renovated.

Backlit columns create a depth perceived from the enterance lobby with a definition of servants.

The rooms’ lighting details supports the regulations for the Hilton standards while creating a better atmosphere and visual confort than the old version for the guests.

THE MARMARA TAKSIM ISTANBUL, TURKEY The Marmara Taksim hotel is at the centre of business, shopping, theatre and entertainment districts, in Istanbul, Taksim Square. After being a landmark for nearly 40 years, it has reopened its doors after a dazzling renovation in 2012. It carries the signature of interior designer Dan Kwan and gives a modern flare to traditional Turkish art and culture. This project was the first example of how lighting design can enchance the design quality of the brand and built environment for the client İstanbul Turzim A.Ş.

Its eye‐catching entrance and lobby reflects the vibrant colours of Ottoman Kaftans into every aspect of the hotel. While the red ambience of the entrance and the Lobby

evokes warm feelings of passion, love and desire, it also highlights its formal sleek and chic black look. The custom designed chandelier defines the main lobby and creates a vertical depth with combining the lobby in the upstairs to the entrance on the ground level with its crystal sparkles. The symmetry created is supported with the lighting details.

Private dining rooms are surrounded by wine racks to give a feeling of elegant linear lighting as well as custom wood details in the details of the wine. This wine cabinets that appear in the lobby is quite stylish and feeling inspires people to examine the wine. In a sense, going on a lighted surface has defined the limits of the lobby.

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DOĞUŞ AUTOMATIVE TECHNOLOGY CENTRE ISTANBUL, TURKEY

The office building of the Doğuş Group Automotive, designed by Midek / ERA architects, was recently completed.

The building, including IT departments and data centres, is located on TEM highway, in Gebze, İstanbul - where urban developments have gradually increased in recent years.

The structure celebrates transparency, uniting white collars with daylight in a pleasant experience. The smart architectural design of the façade and the

interior lighting details empower the feeling of transparency in all directions. Looking through office areas from the entrance showcases the transparent architecture and defined boundaries.

During night time, the concrete structure is melted by the occupancy lighting, so the design itself allows viewers from outside to interact with the interior spaces. The entrance lobby has a high ceiling, equipped with narrow beam metal halide track spots and colour-changing large scale circular

pendants, all positioned in a symmetrical pattern like the building itself.

In the corridors, the general lighting has been integrated with the mechanical and electrical equipment, to the mesh box located on the ceiling.

The direct and indirect pendants used in the open office areas satisfy ergonomic and efficiency needs with their adjustability to changes in natural light ‐ thanks to DALIbased programmable dimming abilities, suited to the needs of the office users.

through contrast effects and highlights shelves, whilst leading customers directly to the merchandise. The spotlights through the aisles have been removed to increase contrast. Suggested by the interior design concept, the renovated area is separated from the old one, using fake beams on the ceiling. These are made by 1.5mm metal sheet, including a detail to attach flexible LED lighting with linear profile and frosted plexiglass, which indirectly illuminate the white painted inner surface of the sheet.

As a result, an illuminated ceiling has been created throughout the whole new area, providing a feeling of outdoor shopping.

A track system, located between the linear lights on the ceiling, was applied higher

than the linear light to provide cut off and to avoid glare while shopping. To futher avoid glare, honeycomb louvres have been used on each spotlight. The interior design of the renovation features brighter colours and materials, so decreasing the brightness was a challenge. Shelves in front of the walls are illuminated by the same track system but with antiglare flaps, aiming to prevent dust gathering on the wall.

Energy efficient LED technology (37W, Ra>90, 3,000K, 2953lm) was chosen for the spotlights. Generally 24D was used but on the wall side, 10D reflectors were used.

Vertical surfaces above the shelves are illuminated by using concealed high output fluorescent light from the view of customer.

BEYMEN BLENDER ISTINYEPARK ISTANBUL, TURKEY

Beymen Blender is a renovation project at İstinyePark ‐ one of the biggest shopping malls of Istanbul. Spread over three storeys, the renovation includes the first floor, which is divided into three phases.

PLANLUX’s task was to create a lighting concept and prepare the mall for opening in less than a month. Although the project has been developed under budget and time constraints, it met customer demands on time. PLANLUX had no opportunities to conduct a fine tuning before the store opening, therefore lighting was rather homogenous throughout the store. During the fine tuning, task lighting was the main aim, so accent lighting was increased. This establishes the importance of the products

PLANLUX

· FOUNDER & PRINCIPAL: Korhan Şişman, IALD · SENIOR DESIGNER: Başak Okay · PROJECT DESIGNER: Görkem Engin · JUNIOR PROJECT DESIGNERS: Aysu Zerenoğlu, Sena Çam and Aysel Keçeli · HEADQUARTERS: Istanbul · ESTABLISHED: 2008 · CURRENT PROJECTS: MAIDIN Ofis Project, Ankara; Nidakule Ataşehir Bati Ofis Project, Istanbul; TAO Ofis Project, Istanbul; Nidapark Seyrantepe, Istanbul; Vadistanbul Bulvar Project, Istanbul; Hilton Izmir, Izmir; Çinili Hamam Zeyrek, Istanbul; Hilton Garden Inn Hotel Umraniye, Istanbul; MACFit, across Turkey. · APPROACH: The team searches and studies architectural details of projects in depth, using light and shade to create unique atmospheres. During this process, they strongly consider sustainability, bridging the gap between designers, engineers, manufacturers and the clients. www.planlux.net

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Founders of Atelier Bow Wow Yoshi Tsukamoto (left) and Momoyo Kajima (right).

Pic: Courtesy of Atelier Bow Wow

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ATELIER BOW WOW: IN PRAISE OF SHADOWS Last summer, as part of the iGuzzini and MAXXI Architecture collaborative project Light On, Yoshi Tsukamoto, founding partner of Tokyo-based architecture studio Atelier Bow Wow, discussed his design principles in the context of light. mondo*arc caught up with Tsukamoto to discover the inner workings of his process, applications of behaviourology and the beauty of vernacular architecture.

In the summer of 2015, iGuzzini and MAXXI Architecture - Italy’s museum of contemporary art - collaborated on a new project entitled Light On. The project consisted of talks from four major international architectural firms, including discussions of their work and the topics, themes and contexts defining their professional careers. Each designer offered a contemporary point of view on the relationship between form, technology and light.

The second event saw the exhibition of Yoshiharu Tsukamoto, founding partner of Japanese studio Atelier Bow Wow. In a conversation with Adolfo Guzzini, President of iGuzzini illuminazione, and Pippo Ciorra, Senior curator MAXXI Architettura, Tsukamoto presented the studio’s projects and explained the inspirations behind each in the context of light.

Atelier Bow-Wow is a Tokyo-based architecture firm, founded in 1992 by Tsukamoto and Momoyo Kajima. Born in 1965, Tsukamoto studied architecture at Tokyo Institute of Technology and then on to Paris, at L’Ecole d’Architecture

de Belleville. Following this, in 2000, Tsukamoto became an Associate Professor at the Tokyo Institute of Technology.

Born in Tokyo in 1969, Kaijima studied at Faculty of Domestic Science at Japan Women’s University and at Tokyo Institute of Technology. She also studied at Eidgenössische Technische Hochschule Zürich (ETH). By 2009 she became an Associate Professor at the Art and Design School of the University of Tsukuba.

Atelier Bow Wow distinguishes itself from the most prestigious Japanese studies thanks to the duo’s investigative work of behaviourology. It is Tokyo’s environment and architectural landscape that characterises its research - an investigation of micro-architectures that tries to give logical rules to the urban complexity of modern cities. Having published Tsukamoto’s investigations in Made in Tokyo and Pet Architecture, the studio focuses on the role of architecture in the 21st century, attempting to apply principles of its research drawn from existing examples and altering them to create a new reality.

Faced with the evergrowing population of

Japan’s core metropolis, the main focus of its priniciples is centred around the use of space, its sharing and employment. For example in residential buildings such as the studio’s office / living space, partitions are often removed to create a continuous but organised space, where stairs and landings are used to emphasise the continuity.

“Instead of making a strong partition between rooms we use the sense of occupancy to give a subtle articulation in the continuous space,’’ explains Tsukamoto. ‘‘So as you walk around you encounter different types of occupancy. This is interesting because it means we need the help of the users to achieve our intentions.”

The studio’s anthropological approach looks to create architecture without architect but with people, known as vernacular architecture. In the context of lighting, the studio’s work makes reference to Junichiro Tanizaki’s revered book In praise of Shadows, which describes the western world in favour of dazzling lights, and the east traditionally in favour of shade and shadow in interiors.

Using this, its work looks to find the balance

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Pics on Top Row: Courtesy of iGuzzini

Pics: Courtesy of Atelier Bow Wow

between the traditional and the ultra modern based on how people, material and weather behave. After studying these behaviours, all considerations are integrated into one physical entity, creating architecture that reflects the people it is designed for.

Tsukamoto attributes what he calls a “failure of Twentieth century architecture’’ to viewing groups of people as mass numbers rather than individuals. “Twentieth century architecture became a very visual art when it should be both very beautiful and have delightful behaviour,” says Tsukamoto. With this in mind, he has reintroduced vernacular architecture in his home city. Tokyo is a metropolis of houses so it speaks to its surroundings, acting as a point of contact between inhabitant and environment – an ideal

setting for vernacular architecture and the implementation of behaviourology.

He believes that all skills and behaviours are important to observe in order to give identity to particular groups of people. It is within the study of human behaviours that the power of light becomes apparent.

“Light is a very important agent based on its natural discipline,” states Tsukamoto. His idea of space interrelates the behaviours of both humans and objects. Therefore light is investigated as one act of behaviour, as our behaviour is influenced by lighting conditions.

During an interview with mondo*arc, Tsukamoto told us first hand about his experiences and inspirations, discussing the importance, impact and use of light in architecture. He considers light as “the central natural element that behaves in and

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Top Row Yoshi Tsukamoto presents his ideologies at last summer’s iGuzzini Light On conference, including a lecture and student workshop.

Middle Left and Right Atelier Bow Wow’s Tokyo multipurpose work / living space is a testament to the studio’s design ethos, with the focus on how its inhabitants’ behaviour interacts with environment.

Left Slotted within a narrow street in Tokyo, the external profile of the studio shows how every inch of its design has a purpose.

around architecture. From this behaviourial point of view, lighting can become other natural elements in architectural design, even if it is artificially created.’’

His approach to lighting is appreciative of the way it behaves as well as its practical function. Tsukamoto explains: “Of course it’s important to light the space and its objects with an appropriate amount of light, but beside these functional concerns, the behaviours of light, such as reflection, creating shadow, projection and so on, are very interesting to my design process in architecture.’’

He argues that light has its own behaviour based on the physical principle itself. More importantly, it is the fact that you can’t change the physical principle that makes it exciting to play with the behaviour of light through architecture. From this, Tsukamoto

explains: “you can make light tangible through architectural design”.

As with many things in architecture, light and shadow are two sides of the same coin, with the latter being another element that behaves in and around architecture.

Produced by the interaction between light and architecture, shadow and darkness “are the powerful means that create a heterogeneous condition in the space; also providing a means to give depth to facade’’.

When asked about Tokyo and the role of light in cities in general, Tsukamoto passionately described light as “something that moves. Sometimes it appears and sometimes it disappears. It gives the sense of movement and rhythm of a city’’.

Atelier Bow Wow’s work is incredibly diverse, ranging from an outdoor canal swimmer’s club in Bruges, Belgium to the

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Pics: Courtesy of Atelier Bow Wow

Lighting is incorporated in a theatrical manner at the BMW Guggenheim Lab in Mumbai - part urban think tank, part community centre and public gathering space.

Izu Book Café in Shizuoka, Japan and the Four Boxes Gallery in Skive, Denmark. Two very different but very interesting examples of its work – the BMW Guggenheim Lab and the Kitamoto Station Plaza – showcase how lighting complements architecture to produce social environments that understand human behaviour.

When asked to explain the lighting of the BMW Guggenheim lab in Mumbai, Tsukamoto says: “The lighting was incorporated in a theatrical manner.” The part urban think tank, part community centre and public gathering space, travelled globally to inspire new ways of thinking about urban life. During the six weeks of its Mumbai

presentation, the third stop on the project’s global tour, organised in collaboration with the Dr Bhau Daji Lad Museum, the Lab offered 165 free programs over 29 days, including design projects, surveys, tours, talks, workshops, and film screenings. The central location of the Lab was on the grounds of the museum in Mumbai’s Byculla neighbourhood, making it available to a wide range of audiences and communities.

This is a perfect example of how Atelier Bow Wow’s principles can apply universally, even to external, semi-permanent architecture, creating an interactive space where lighting plays a crucial role.

At the Kitamoto Station Plaza in Saitama,

Japan, the lighting was limited as much as possible to make pedestrians as visible as possible for drivers. With this in mind, “very small but powerful downlights were set in the ceiling, lining along the edge of the pavement,’’ says Tsukamoto. “Combined with uplights set into the pavement, illuminating the ceiling that is finished by locally sourced wooden planks. In doing this, reflection from the ceiling is coloured by the light, taking on the wooden colour.”

In summary, for Tsukamoto light “is very important since it is the central element investigated in behaviourology”. This is apparent in all of his work, which plays on the diverse condition of light - sometimes

13 – 18.3.2016, Frankfurt am Main Hall 3.1, Booth B.61

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Pics: Courtesy of Atelier Bow Wow

bright, sometimes dark - to create conditions for people that suit different behaviours, creating a collision between the shadows of traditional Japanese interiors and the artificial light of the modern age.

Noticing that human behaviour can be influenced by natural behaviour - for example, when shadow in the summer gathers people together – Tsukamoto believes the same influence can be implemented with light in architecture. His designs look to create spaces that become a more complex place of experience, with

an interest in light and its interactions with other agents.

Although, traditionally, Tsukamoto’s cultural background doesn’t pay much attention to lighting buildings at night, (until neon light arrived from USA, when places like Tokyo became flooded by neon) people are now beginning to light rooms the western way with spotlights, for example. However, he still argues that there isn’t enough atmospheric light and that strong lighting isn’t necessary everywhere. For example in Norway, they have abolished the subject of

This Spread Small but powerful downlights are set into the ceiling at Kitamoto Station Plaza in Saitama, Japan to illuminate the pedestrian area as much as possible without impairing driver’s vision.

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lighting streets, highlighting the importance of shadow.

Yoshi Tsukamoto and Atelier Bow Wow offer an approach that creates a meaningful environment to live in – a place to share that creates social interaction between its inhabitants. The studio’s philosophy appreciates the fact that behaviours and their natural discipline can’t be changed.

With this, it prioritises the shareable aspect of behaviour as a very important resource in architectural design, creating a synthesis between the behaviour of such things as

light and the behaviour of people to result in un-institutionalised space. Put simply: “The idea of behaviourology can apply everywhere, it isn’t specific to any culture or country but is a universal principle / school of thought that can be utilised in all areas of architecture,’’ concludes Tsukamoto. www.bow-wow.jp

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PAULE CONSTABLE:

A HEIGHTENED REALITY Winner of four Olivier awards and two Tonys, Paule Constable is a lighting designer who needs no introduction. With work spanning a broad catalogue of opera and theatre productions, her stripped back approach to lighting design has earned global recognition. mondo*arc caught up with Constable, after a showing of The Curious Incident of the Dog in the Night-Time, to talk about light and its ability to adapt.

Pic: Lulu Ladd

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Pics: Brinkhoff Mögenberg

Growing up in a military family, lighting designer Paule Constable has moved around all of her life. The need to make friends quickly and the peripatetic nature of this lifestyle made theatre attractive to her.

Although it may seem like a somewhat unlikely correlation, Constable explains: “It’s amazing how many military kids gravitate towards theatre.”

Like many young and brilliant minds, Constable studied an eclectic mix of arts and science subjects through school, culminating in A-levels in Maths, Physics, English and History of Art. “I didn’t know what to do next. Originally I was considering architecture, then I thought about engineering but in the end I decided to do an English degree,” says Constable.

The English degree in question she pursued at Goldsmiths College in London, which at the time - in the mid 80s - was a hub of

creativity, producing the likes of Damian Hirst, under the guidance of Dean Richard Hoggart. Invigorated by the artistic essence of the institution, Constable changed after a year to a combined English and Drama course because “...it was just a better course for me,” she explains.

During her studies Constable went through the motions of wanting to become an academic or a director. However, during a real-life piece of theatre, her flatmate - a stage manager at the time - fell madly in love and ran away to Spain. Seizing the opportunity, Constable pretended to be her, took her job as a follow spot operator and turned up at the Hackney Empire to announce “I’ve no idea what I’m doing”.

After doing a lot of climbing when she was younger and having never been frightened of heights, she was immediately happy amongst theatre’s stage rigging and

equipment. Constable explained: “Because of A-level Physics I could rewire stuff and I loved the creative aspects of lighting. It discovered me really. I worked in the music industry for a few years, then experimental theatre and devised theatre. I simply followed my nose.”

In that time, academic study of lighting was rare and the route into the industry came from people who were working as electricians. Learning on the job, Constable followed the advice of a couple of key designers who mentored her. After being in the industry for a short time, she realised that it wasn’t just the technology that interested her but also the storytelling of lighting. “I already had an academic strand to my life with an English degree and a love for literature, as well as a very practical strand and I didn’t want to do something that was purely one or the other.” It was at

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this point that she realised design was the missing piece to her puzzle.

When asked about her influences along her journey to success as a lighting designer, Constable responds: “Through learning, there have been people who have been very influential to me. Through looking at other people’s work and realising it was different, particular and special.” More specifically, she cites Germany’s Wolfgang Goebbel, who created a very different aesthetic to anybody on the UK stage, as well as Jean Kalman from France. These people, along with many others, made Constable realise that light could be more; it didn’t have to be purely functional.

In her own projects, she worked with a lighting designer in the UK called Stevie Whitson who was very experimental after coming from La Mama theatre in New York. “I worked with him and helped him

out a lot. He was completely anarchic and brilliant. He made you believe that light could do anything,” she explains.

In addition, Constable draws inspiration from cross-discipline sources, finding reference material that unlocks her creative vision in sources such as American photographer Gregory Crewdson. “He uses light in a very particular way, it is so resonant.”

Lighting is a very diverse medium, from theatre to architecture it can be manipulated to impressive effect. Constable attributes its creative value to the feeling that “there is something about working in a landscape that is not necessarily understood, seen or overt. Something about the subversive nature of it. It’s not concrete and not right or wrong; it is incredibly lyrical but also literal. It’s so many contrasting things”.

Left LED pixels interact with Matthew Trevannion in The Curious Incident of the Dog in the Night-Time.

Middle James Backway is bathed in an ambient glow in War Horse. RIght Light and costume intertwine in Wonder.land.

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Drama and expression in opera Die Meistersinger is exentuated by Constable’s naturalistic lighting scheme.

Die Meistersinger von Nürnberg, 2011© Glyndebourne Productions Ltd. Photo: Alastair Muir

As a great lover of the outdoors and, more specifically, an obsessive fell runner, Constable’s appreciation for light and the way it interacts with landscape, people and space runs deep. “Even if you’re working in a tiny space, you have to find a sense of why light is there; working in a medium that is never entirely finished, it is entirely illusive,” she adds.

This philosophy runs through into her lighting of theatre. For example, shows such as The Curious Incident of the Dog in the Night-Time doesn’t use traditional scenery to tell the story, but instead uses gesture and lighting to create the impression of a room with nothing. Based on long collaborative relationships between the team behind the show, the result is a spectacular display of light, sound and interaction. “We began with a floor of LED pixels in a grid. We wanted to make it an experience for the audience, a journey they went on with Christopher – the lead character,” explains Constable. With the focus on stimulating the audience and to reflect Christopher’s state of mind, the team looked at how the space would respond. Therefore, allowing the stage to become the inside of his head. Based on the protagonist’s immaculate attention to detail and fascination with his surroundings, the team thought he would love technical theatre, lights and equipment. With this in mind, they came up with the idea of a square and then Constable created the idea of having a pixel grid of LEDs and RGB light boxes, which are used to represent objects throughout the performance. “I wanted to reflect the same above him, to create Christopher’s world, his machine. You feel as if you are creating the show with him, creating an immersive experience for the audience.”

As a member of the audience you understand the rules of the space within the first ten minutes. There is a collective sense that you are going to share something with the actors. This is achieved, in the most part, by a stage brought to life through intelligent lighting and the diversity of LEDs. “When we first started making Curious Incident, LEDs would flash on and the story would get lost as it felt as if the

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Die Entführung, another opera, showcases Constable’s ability to transform a stage into a realistic landscape with selective, organic lighting.

Die Entführung aus dem Serail, 2015 © Glyndebourne Productions Ltd. Photo: Richard Hubert Smith

lights were doing something to him rather than with him. We had to make sure that it felt like he was making it happen - a brilliant conversation between mediums,” comments Constable.

Her commercially successful shows such as The Curious Incident, War horse and Wonder.land, which travel the world or appear on Broadway, obviously attract the most media attention. However, Constable’s favourite show of last year was a production of Wozzeck – the opera – in Chicago. “It was a piece I’d never done before; based on an 18th century German play by Buchner, written by Berg as a response to the First World War. Incredibly modern, short and episodic, it’s really angry. We did a stripped back version of it designed by Vicki

Mortimer – a close friend and colleague of mine – and directed by Sir David McVicar someone I have worked with for 20 years.

The coming together of the piece, the creative team, the cast and the space made for a great production. All in white, it was hard, brutal and really stripped back. At first I never thought it was going to work but in the end we got close to something that really landed with the music,” says Constable.

When comparing theatrical lighting and architectural lighting, the link may seem unrelated. However, Constable believes that the understanding of light and its application is universal. Citing the work of Speirs + Major, she says: “I’ve always really loved their work because it’s story driven.

I love their relationship to landscape and talking to them, I was fascinated to see how similar their thinking was to mine. I look at architectural lighting design, particularly in interiors - it can be quite functional or it can be quite transcendent. Their work for me feels like it wants to do both things. You go into their spaces and you feel different – your senses wake up.

“The area that people such as Olafur Eliasson and James Turrell are exploring is absolutely the area that concerns me.

Then there are people who objectify light like Dan Flavin – even though his work is still about colour balance. I think this is true with architectural work, you can see there are places where people are really telling a story with a space or places that

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DETAILS

The cast of The Curious Incident watch with wonderment as they exist within an LED Cube Christopher’s working brain.

are rudimentary and functional. Similarly in theatre, say with musicals, the lighting often has to create rhythm and shift the space in a very overt way - not working from the inside but imposing an agenda on a moment. This to me is objectified lighting - it has a strong external hand. As in offices, when it needs to be functional, compared with places that need to be stimulating.”

The road to success is often described as a bumpy one and Constable’s has been no different. “Being female and having children has been tough. The weird thing about lighting is that people can use the idea of technology as a weapon against you. Being an electrician, my technical

knowledge was quite good. But now things change very quickly. I use the technology to be creative but I can’t talk to you about the technical minutiae of how we manage data in say Curious Incident. It is about learning that you don’t have to be able to do everything. Originally, I would hang my own lights and do my own programming.

That can be a problem for young people to come into the business,” she explains.

Constable went on to describe a brief encounter with the V&A museum that opened her eyes to how light can be interpreted in space. “One thing I think is interesting about architectural lighting design, I discovered during a brief

encounter with the museum. They were scared by the way I think about light. I wasn’t thinking about lumens, functions, labels and walls. I was thinking about light as a dynamic, story-telling thing. I realised that I was the wrong person for them to be talking to. With my work, I can start with nothing but I don’t think in architectural work anyone can really do that. I don’t think of myself as much of lighting designer, as someone who works with darkness. That is a very different discipline.”

Aside from ups and downs, Constable has received four Olivier and two Tony awards for her work in lighting. Within an industry that is male dominated, achieving this level

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Pic: Brinkhoff Mögenberg

of public recognition has been a highlight in her professional career. “I am the only female senior lighting designer in this country who has global recognition - partly because I do a lot of opera. In a world where role models are really important, winning awards is great to prove to people that it is possible. In terms of gender balance within my own teams, most of my favourite programmers are women.

They tend to have a very level head in that particular role. Being in a position to champion them is really important,” she explains.

Constable pinpoints the beginning of her journey to success to a pivotal moment

when she became the first woman to light a show at The National Theatre in 1993.

“That is pretty shameful but I suppose that was the start of a big journey for me as I’m an associate director there now,” she says.

Another significant moment in her career has a very heart-warming story behind it. When working at the English National Opera, after just winning an Olivier award, the stage manager told her that she must bring it in the following week. On Monday, much to the manager’s surprise, the award was nowhere to be seen. “Where is it?” they said. “It went to show and tell with my kids,’’ says Constable. “They are nineteen and seventeen now but back then they must

not have known what the bust of Olivier even meant.”

Her success and recognition within the industry is often attributed to her unique process, which tends to be simple and stripped back. “It’s kind of Amish,” explains Constable. With a simple, clear and honest approach, the focus remains on the right idea, light, the right moment to not feel obliged to do everything and the right moment to release a particular story. “My work doesn’t use a lot of saturated colour but I’m really interested in height and naturalism – ideas that come from a reality.

I like stripping back to a truth and then heightening that,” states Constable.

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Drew Dillon as Goose in War Horse casts a shadow over the stripped-back stage set-up, accentuated by the visible inner workings of his character prop.

HIGHLIGHTS Projects that you’d like to change: The amazing thing about theatre and opera is that they are here for a moment and then gone. My projects rarely haunt me as most of them only last a short time.

The ones that are around for a while like The Curious Incident or War horse I get to revisit and improve. So there are things I have done that haven’t worked but I don’t have to live with the repercussions in the same way you would have to with something architectural.

Projects you admire: One of the most inspiring bits of stage work I ever saw was Jennifer Tipton’s Necessary Weather - a dance piece performed with just movement and light - no sound at all. It was mesmeric and beautiful in a way her work often is. Jim Ingall’s lighting - particularly his work with Mark Morris and also Theodora at Glyndebourne.

Projects you dislike: Wonder.land at the National Theatre is one of the hardest things I have done in a long time. I wouldn’t say I dislike it - but I found it really tough and in the end I don’t think I solved it. The entire show takes place in front of a massive projection screen. Trying to shape and articulate space with that amount of ambient light around is infuriating and exhausting. It’s like trying to light a show with the working lights on. In that direction madness lies.

Lighting hero: Jennifer Tipton for theatre, James Turrell and Olafur Eliasson for creating art using the language of light.

Notable projects: The Curious Incident of the Dog in the Night Time and War horse were both small projects for the National theatre that went global and saw creative work enter a commercial arena - both also won me Tony awards.

They aren’t the best things I’ve done but they are good, highly collaborative work that have been publicly acknowledged. That makes them notable.

Pic: Brinkhoff Mögenberg

What is apparent through lighting, whether it is theatrical or architectural, is that lighting designers share the same foundation of skills. These shape how people experience, perceive, feel and immerse themselves in space. There are so many ways to experience space and that becomes the common ground between all lighting designers. “Learning to look is the secret we share. The public don’t obviously always notice or perceive light. I was recently in terminal five at Heathrow, when my plane was delayed. I walked through the subway and the way the LEDs

are used is really beautifully put together.

You walk through the tunnel and you feel like you’re in a Sci-Fi movie - it is alive. It has been done thoughtfully without feeling suppressive. Even a small detail like that, you do it properly and it can make people’s travelling more enjoyable.”

Whether it is in theatre, architecture or any other environment, this anecdote encapsulates what designing with light can create. Just like in Heathrow’s terminal five, with thoughtful design, even simplistic lighting can deliver a grand impact. www.pauleconstable.com

Most memorable project: One of my first shows was a piece called Street of Crocodiles for Theatre de Complicite. It got my work seen and was a beautiful, complex, lyrical piece that taught me so much about story telling. It was the first time that I stuck my head on the block and tried to really make light part of the conversation. It made me a designer.

Current projects: I just had an amazing time making Herons at the Lyric Hammersmith. Often doing shows with less pressure on them can allow you to be really creative. I loved playing with the water and pushing the reflections and there are very, very few lights. It’s a brutal and bold aesthetic that I felt achieved something quite beautiful. It was lovely to do - and I am quite pleased with how it look. Now a community opera called Nothing at Glyndebourne, then Roberto Devereux at the Metropolitan Opera, The Suicide at the National Theatre, some work at the Donmar, at Glyndebourne, at Chichester. It’s all pretty varied. And busy!

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Pic: Redshift Photography

Custom fluorescent pendants from Aether Lighting use T5 lamps, housed within an acrylic tube for a simple uncluttered aesthetic. Various coloured sleeves and gels were selected

by Haworth Tompkins to compliment other elements within the interiors.

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BACKSTAGE PASS Outlined by environmental design consultants Atelier Ten, the lighting of London's newly refurbished, multi-purpose National Theatre has transformed this Grade II listed building into a place of artistry and community. mondo*arc takes an exclusive and detailed look inside to discover the method behind the magic.

In an effort to bring together world-class artists, emerging talent and the public, London's National Theatre is undergoing extensive refurbishment and remodelling to transform this Grade II listed building. The £80million project, known as NT Future, has created a new scenery art studio, a public viewing gallery as part of the remodelling of the workshops and the new Clore Learning Centre. Additionally, the Cottesloe Theatre has reopened after modernisation as the Dorfman Theatre with an improved foyer.

The main foyers and public spaces of the National Theatre have also been revitalised with the creation of new bars and cafes on the riverfront, a new bookshop, a new entrance and the landscaping of the public realm and terraces.

A previous refurbishment had diluted the drama of architect Denys Lasdun’s original design for the main foyers. Following on from this, environmental design consultants Atelier Ten developed a new lighting concept, working closely with the theatre and architect Haworth Tompkins, to play with the balance of darkness and light. The lighting design creates a sense of darkness by minimising the spill of light onto the diagrid of concrete coffers, contrasting with focused lighting of specific horizontal and vertical surfaces. To bring warmth to the Brutalist board-marked concrete, a 2,700K colour temperature was selected for all

lighting. The design incorporates playful elements of accent using gold reflector cones in luminaires over seating areas and red-sleeved pendants over bars and atrium areas.

Atelier Ten worked with Aether Lighting to develop a custom family of luminaires for the project, bringing a sense of unity throughout the new and refurbished spaces. In the main foyer areas, 40 custom luminaires were developed. Of these luminaires, the key family types were drum downlights, spotlights and fluorescent pendants.

Mounted within the concrete coffers, the drum downlights have a bronze anodised finish to match the original metalwork used

by Lasdun. This family of luminaires was created for various purposes, all using warm 2,700K Xicato LED modules. Firstly, a simple version with a deeply recessed LED and honeycomb louvre was used for circulation areas, with an optic designed to prevent any spill light leaking onto the side of the coffers.

In seating areas around the bars and café, a version with a rich golden reflector was designed so that they could be viewed across the foyer to add an element of sparkle, drawing customers to these areas.

A further variant was designed with miniature LED spotlights as outriders around the main cylindrical downlight, concealed high in the coffer and used to provide

accent on tables and benches.

For mounting on a suspended bar over seating areas to highlight bench tops, a miniature version of the bronze anodised drum was created.

Spotlights of varying sizes were created for use throughout the foyers, while a track mounted version was developed for the bookshop, house restaurant and understudy bar. With different finishes to suit the various spaces, these luminaires use 1,000lm Xicato modules, with the driver mounted in a rectangular gear box coupled to the track.

For the lighting of the large open areas of the foyer, a 'big brother' version of the spotlight with 2,000lm Xicato modules was used. These were mounted to existing lighting bars using proprietary clamps with remote drivers concealed in existing enclosures.

Additionally, to provide grazing uplight to the board-marked concrete, a version of the spotlight was developed for mounting within in-ground boxes beneath the concrete fins.

Along with wall-mounted versions, developed with extended arms for lighting of posters and display, a further miniature track-mounted version has been used within the Dorfman foyer to highlight the mesh wall coverings.

For the accent of key spaces, and as the theatre's signature luminaire, Aether's fluorescent pendants use T5 lamps, housed

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Pic: Philip Vile

within an acrylic tube with minimal mounting arrangements, for a simple uncluttered aesthetic. In collaboration, various red and straw coloured sleeves and gels were selected by Haworth Tompkins to complement other elements within the interiors.

Vertical versions of the pendant can be found in the triple height atrium spaces of the main foyer and Dorfman foyer, and have been used in groups, mounted to a hoop, to create chandeliers within the Sackler entrance, Main Lytleton foyer and the Cathedral window in the Olivier foyer.

Fitted above the bars and box office and within the kitchen cafĂŠ, horizontal versions of the pendant show its versatility.

In addition to the custom fixtures, mounted between the timber ceiling slats in a random arrangement within the Dorfman foyer, Mike Stoane LED Channel luminaires were installed to provide ambient light and

a key aesthetic element.

For the replacement of the house lighting within the Dorfman auditorium, GDS ArcSystem fittings were used with 10W LED sources and DMX control. As an essential requirement of the theatre consultants Charcoal Blue, these had the advantage of exceptionally smooth dimming down to zero and were stirrup mounted, directly to the soffit, with remote drivers concealed behind the wall cladding.

When it came to the 'found spaces', housing the new cafĂŠ and bar areas, Atelier Ten created a simple lighting aesthetic to complement the interior design. KKDC Liniglow and TiMi linear LEDs (2,700k) were used extensively for concealed lighting to bar fronts and the back bars and within the refurbished toilets to bring out the colour of the bright red mosaic tiles. As well as this, Liniglow XL was used in the house restaurant, concealed behind the banquette

seating to softly uplight the concrete walls.

KKDC's SEN 47 wall washer was also used to great effect behind the new cloakroom to graze the board marked concrete and bring out the texture.

For the workshops and other back of house spaces, the main driver of the lighting design was functionality. High performance luminaires with an industrial aesthetic were selected in keeping with the architectural design of the original and refurbished building. The lighting of the triple height paint studio was particularly challenging due to the extremely high lighting levels required on floors and walls. Faced with this challenge, Atelier Ten carried out extensive modelling to optimise the lighting and meet the uniformity and 1,500 lux light levels required.

Not only has the lighting design provided the drama, sense of place, and functionality required of the theatre, but it has also

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Pic: Redshift Photography

Pic: Redshift Photography

Pic: Philip Vile

Left Hand Page GDS Arcsystem fittings replace the Dorfman auditorium house lighting using 10W LED sources, DMX control and the advantage of smooth dimming to zero. This Page Aether Lighting fluorescent pendants decorate the theatre's Dorfman foyer and have been mounted to a hoop to create a chandelier within the Sackler entrance. Horizontal versions of the pendant also appear within the kitchen café and above the box office. Top Left A 'big brother' version of Aether's spotlight, with 2,000lm Xicato modules, is mounted to existing lighting bars using proprietary clamps, illuminating large open areas of the main foyer.

Top Right KKDC Liniglow and TiMi linear LEDs are concealed to light bar fronts and back bars, along with the Liniglow XL, concealed behind the banquette seating in the house restaurant to softly uplight the concrete walls.

Pic: Philip Vile

been key in reducing the energy use of the National Theatre. Efficient lamps and luminaires were the first step, and controls were the second towards cutting energy demand. With this in mind, a new Lutron QS control system was installed throughout the new and refurbished areas, using DALI addressable controls, occupancy sensing and daylight harvesting. Over 50 Lutron panels were distributed throughout the building, networked together. A Lutron graphical head end provides the NT control of the complete system and iPads can be used for mobile control and scene-setting.

Cost savings were inherent in Atelier Ten’s lighting design, as the DALI protocol is so robust as to allow the reuse of exsiting wiring in the foyers to transmit power and control. Each luminaire can be individually addressed, enabling simple zoning configuration to suit the new layouts.

Through the careful design and specification

of lighting and controls, Atelier Ten has reduced the energy use by 70% from the previously existing scheme. More significant, however, is the sense of drama that has returned to the foyers of the National Theatre.

Furthermore, Philip Payne non-maintained emergency LED fittings were used throughout, powered from the NTs central battery system. Philip Payne also developed a special exit sign for the Dorfman auditorium with dual supplied LED strips and DMX control, allowing exit signs to be dimmed during a performance to a low level, but automatically returning to full brightness in the eventuality of a power or DMX failure. The design also allowed the facility for complete blackout of the exit signs with a soft dim up return, giving the NT’s show designers opportunities for dramatic blackout effects.

Within the new multifunctional meeting /

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Pic: Redshift Photography

Pic: Philip Vile

Pic: Redshift Photography

Pic: Redshift Photography

event rooms off the main foyer, iGuzzini Laserblade wall wash luminaires were used to provide even illumination of the walls. This was used in combination with custom-made low-glare downlights from Aether Lighting as a simple way of providing flexibility to the rooms.

Throughout the new workshop areas, Etap fittings use T5 lamps as LED at the time of design wasn't sufficiently efficient or cost effective for the lumen packages required.

The fittings were specified for their highly efficient reflectors, so for the majority of the workshops wide beam reflectors were selected. Within the scenic paint studio, a

combination of asymmetric and narrower beam reflectors were used to illuminate the vertical and horizontal painting surfaces to the necessary illuminance (1,500lux) and uniformity.

Within the multipurpose Cottesloe Room located in the Clore learning centre, Etap was also used for a custom-built system of its Kardo fitting. To suit all types of event arrangements, as well as an overspill space for the foyer, the suspended Kardo system was specified with a combination of ambient downlights from fluorescent modules as well as inbuilt track sections to allow spotlights to be mounted. In addition,

Top Left Etap fittings illuminate new workshop areas, using T5 lamps. Left A track-mounted version of Aether's spotlight lights the bookshop, using 1,000lm Xicato modules. Top Right Aether's drum downlights, surface-mounted within the concrete coffers, have a bronze anodised finish to match the original metalwork used by Lasdun. Also, an in-ground version of the spotlight provides grazing uplight to the board-marked concrete. Above A close-up of Aether's fluorescent pendants and drum downlights illuminating one of the many bar areas.

DMX controlled RGB colour change LEDs were concealed on the top of the profile to provide soft light to the ceiling coffers, which can be adjusted to suit the use of the room.

For general back of house downlights in corridors and other ancillary spaces, Wila’s Econnect LED Nero and Tentec LED Power Nero were used for their efficiency.

All external and public realm lighting was provided by Philips. Specifically, within the public realm, four-metre columns were installed with clusters of Philips iW Burst Powercore spotlights. Lensed with different beam angles, these provide the

National Theatre, London, Lighting Design: Atelier Ten, Photography: Philip Vile

Frankfurt am Main 13.–18.3.2016 Hall 4.2 Stand H71

National Theatre, London SEN 050 - 2800K - Spread Lens

www.kkdc.lighting

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Top to Bottom Philips iW Burst Powercore spotlights uplight the overhanging concrete soffit around the building's perimeter. External view of the main foyer, illuminated by Aether fluorescent pendants, which hang vertically in the triple height space. Individual spotlights from Aether highlight the building's unique concrete interior. A further miniature track-mounted version draws attention to the Dorfman foyer's mesh wall coverings, along with Mike Stoane LED Channel luminaires, mounted in the timber ceiling slats, providing ambient light.

Pic: Philip Vile

Pic: Philip Vile

necessary ambient light as well as some theatrical drama from pools of light. The same iW Burst fittings were used to uplight the overhanging concrete soffit around the perimeter of the building and mounted to the refurbished lighting masts within the open square areas adjacent to the river front and Dorfman foyer. These fittings are controlled via the NTs DMX network so that they can be incorporated as part of a show setup if required and also have the ability to change their colour temperature from a warm to cool white.

Philips also provided LED handrail lighting that is used on the public realm stairs and on the newly landscaped terraces Philips IP rated Riga LED tape was concealed behind a baffle on the concrete perimeter wall and under new timber benching to provide low level lighting.

Atelier Ten's lighting scheme adapts to the National Theatre's multi-purpose usage - a place to eat, rehearse, relax and perform.

With precise selection of luminaires, the spirit of the building has been elevated to reflect its world-renowned status. www.atelierten.com

PROJECT DETAILS The National Theatre, London, UK Client: The Royal National Theatre Architect: Haworth Tompkins Lighting Design: Atelier Ten (Jonathan Gittins, Associate Director) Pic: Redshift Photography

LIGHTING SPECIFIED Pic: Redshift Photography

Aether Lighting 40 custom luminaires used in front of house areas, including Xicato LED spotlights, downlights and pendants Mike Stoane LED Channel ceiling luminaires for Dorfman foyer GDS ArcSystem modular LED lighting and DMX control KKDC Liniglow / Liniglow XL linear LED KKDC TiMi linear LED KKDC SEN 47 linear LED wall washers iGuzzini Laserblade wall washers Etap E5200 Workshop luminaire Etap Kardo system custom built for Cottesloe Room Wila Econnect LED Nero downlights Wila Tentec LED Power Nero downlights Philips iW Burst Powercore external public realm lighting Philips Riga linear LED Lutron QS lighting controls

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WAVES FROM WITHIN With more lakeside views than you can shake a stick at, Goettsch Partners' Ryan Centre for the Musical Arts has been brought to life by Schuler Shook's integrated lighting scheme, which marries illumination with art and music with design.

Pics: Tom Rossiter unless stated otherwise

The Ryan Centre for the Musical Arts is the new home for the Bienen School of Music at Northwestern University, one of the top music programs in the US. Located in the southeast corner of the university's campus, directly adjacent to Lake Michigan, one of the Great Lakes of North America, the centre features dramatic views of the lake and down the shoreline toward the Chicago skyline. The building also serves to enclose the new Arts Green, creating a new 'quad' for Music, Theatre, and Visual Art buildings.

US-based lighting design practice Schuler Shook became involved in this project in 2010 when Northwestern University initiated an architectural

competition for the new music building.

The practice was invited by Chicagobased architects Goettsch Partners (GP) to join its team as lighting designers and theatre planning consultants. The GP design was selected as the winning entry and began work immediately on the design and documentation phases of the project. Following an 18-month pause for fundraising, the project went into construction in 2013 and was completed in 2015.

When asked about the main architectural challenges of the project, Scott Seyer, Principal, GP, and senior project designer for the Ryan Centre, explained: “The

overriding challenge was to create a beautiful design solution that performed well acoustically and was within the project budget. GP worked closely with the owner and its consultants to find cost-effective solutions that maintained the original intent of the winning design competition scheme.’’

Patrick Loughran, Principal, GP and technical principal for the Ryan Centre project, also commented: “The design changed substantially over time in order to get the project within budget; however, most of the big changes led to a more efficient and better building design. Northwestern University was very

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Pic: Courtesy Schuler Shook, Christopher Sprague

Far Left The centre's south façade boasts a warm glow eminating from the recital hall's interior, while Forms+Surfaces bollards illuminate the main entrance pathway and Bega exterior steplights line the building's east façade. Above The topside horizontal surfaces of the recital hall's undulating wall are detailed to incorporate linear white LED strips from PhilipsColor Kinetics – with louvers from Tempest - glowing upwards onto the wood band above. Left Kurt Versen adjustable downlights illuminate the rest of the recital hall's vast space.

interested in low-maintenance lighting solutions that would not overly tax the building engineers in their operation.

“Below-grade light was used sparingly, and lamps with long life and easy access were specified,’’ continued Loughran. “The design brief always included rich building materials exposed to view: glass, wood, limestone walls, granite flooring, decorative fabrics, and so on. The lighting had to be designed to showcase these materials, and the solution here does so very successfully.’’

The Ryan Centre has many unique rooms with many different lighting requirements – the lobby, opera black box, choral rehearsal, practice rooms, classrooms and

teaching studios. The recital hall, the crown jewel of the building, had the most complex lighting design of all. Its lighting had to be integrated into an intricate system of wood panels.

Loughran explained: “The goal was to keep the lamps hidden from the audience, avoid scallops, and effectively provide the desired illumination. The structure of the wood wall and ceiling panel system had considerable acoustical constraints, and the lighting system had to be detailed around these requirements. Similar to the architecture in the room, the lighting design had to bow to acoustics. In all cases, acoustic considerations were paramount.’’

The lighting concepts were based on transparency and technical proficiency.

GP desired the building to be transparent and inviting, and planned for the building to allow maximum exposure to daylight in all classrooms, performance spaces, practice rooms, and offices. All fittings were specified to be completely integrated into the architecture, with no decorative luminaires used. The stringent acoustical requirements for the music building required that many of the classrooms and practice rooms had no ceiling penetrations to ensure acoustical separations from adjacent rooms.

As the project was designed between 2010

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Pic: Courtesy Schuler Shook, Christopher Sprague

Left and top The atrium's limestone wall is highlighted from below with metalhalide uplights from ERCO and from above with WE-EF downlights, while Focal Point wall-wash fixtures illuminate the atrium's perimeter wall slot.

Above Peerless direct / indirect linear fixtures provide a cool light in the centre's classrooms.

and 2011, it wasn't able to take advantage of some of the newer advances in LED illumination, lighting quality, control, and cost. Therefore the lighting in the building is a combination of fluorescent, LED, metal halide and some halogen in high ceiling, full-range-dimming applications.

The overall result is very high quality lighting performance balanced with energy efficiency, which is reflected in the attained LEED Gold certification.

Schuler Shook's lighting concept is focused around three main rooms /areas in the building: the recital hall, atrium and choral and recital room.

Firstly, the recital hall's 400-seat music performance space includes bands of warm wood that undulate against each

other. While this was done primarily for acoustical purposes, it gave the lighting design an opportunity to highlight the 'hills and valleys' of the walls. All of the topside horizontal surfaces were detailed to incorporate linear white LED strips from Philips Color Kinetics – with louvers from Tempest - carefully positioned to glow upwards onto the wood band above.

Kurt Versen halogen downlights, installed on the ceiling of the recital hall, are extremely well shielded to avoid reflections in the glass wall behind the stage and are completely adjustable.

The atrium - the heart of the Ryan Center - is a three-story space that traverses the building from front to back, allowing significant daylight penetration at all

hours of the day. The space serves as the audience lobby / foyer for the recital hall and the opera theatre, and also as a pleasant student gathering space between classes. One key feature of the atrium is the dramatically sloped limestone wall indicating the entrance to the recital hall.

This wall is highlighted from below with recessed metal halide uplights from ERCO, and from above with carefully placed downlights from WE-EF. Additionally, Focal Point wall-wash fixtures illuminated the atrium's perimeter wall slot.

The same lighting scheme is used for the portion of this wall that extends into the exterior of the building, giving the building a high level of transparency after dark; along with Forms+Surfaces bollard

LED surface floodlights, for flat beam or wide beam light distribution, protection class IP 65, 2880-9500 lumen. Compact form, high luminous efficiency, long service life and a choice of colour temperature.

Ideal for the uniform illumination of e.g. surfaces and façades.

BEGA Lighting UK Ltd · Suite C1 · Paper Mews Place · 290-292 High Street Dorking · Surrey · RH4 1QT · UK · Tel. No. +44 (0) 1306 882 098 info-uk@bega.com · www.bega.com

Das gute Licht.

For brighter places.

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Left The choral / recital room's warm wooden interior is illuminated by Kurt Versen downlights and ETC pipe-mounted theatre lights for smaller recitals Below Rambusch downlights and Focal Point wall wash fixtures provide atmosphere from the opera theatre's tension wire grid ceiling.

luminaires, illuminating the centre's exterior pathway into the atrium.

The choral and recital room serves a dual function: as a choral rehearsal room, with the performers seated in the curved rows; and as a small recital hall, with the performers on the flat floor. As with the recital hall, warm wood is the primary finish element, and the lighting is designed to enhance the warmth of the walls and ceiling via ETC pipe-mounted theatre lights and Kurt Versen recessed downlights. All of the sources in this room are halogen, to provide smooth dimming throughout the dimming range with no stepping or dropout. Illumination levels were designed for choral classroom requirements, and lower light levels are created with the control system from ETC, which is pre-programmed for both uses.

Schuler Shook has developed a lighting scheme that celebrates GP's contemporary architectural design in providing a welcoming and productive space for its students, along with a dramatic and moody atmosphere for both small-scale and major performances. www.schulershook.com www.gpchicago.com

PROJECT DETAILS Ryan Centre for the Musical Arts, Illinois, USA Client: Northwestern University Architect: Goettsch Partners Lighting Design: Schuler Shook

LIGHTING SPECIFIED Bartco Staggered T5 fixtures – classroom corridors Bega Exterior and interior steplights Philips Color Kinetics Recital Hall LEDs (with louvers from Tempest) ERCO atrium uplights, recital hall ETC theatre lighting and controls Focal Point perimeter wall wash fixtures, Opera Theatre Tension Wire Grid Lighting Forms+Surfaces bollards Kurt Versen recital hall and choral room downlights (fixed and adjustable) Lithonia Wall packs and poles Lutron lighting controls for classrooms and meeting rooms Peerless pendants – classrooms and practice rooms Rambusch opera theatre downlights WE-EF atrium downlights Zumtobel decorative downlights (conference rooms and Deans’ offices)

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Pic: Bernd Jonas

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Pic: Bernd Jonas

The custom-made linear lighting elements from Stageled evoke the industrial context of the surroundings whilst employing modern LED technology to reduce energy usage.

The lighting element repeats throughout the project using different arrangements. Unique lighting atmospheres are assembled from subtle modifications in dimension, lighting effect and colour temperature ensuring coherence for the overall space.

STAGING SUCCESS A market hall isn't the most traditional of spaces for a theatre, but then there is nothing traditional about Mehr! Entertainment Group's latest venture in Hamburg. With lighting design from jack be nimble distinguishing flexible realms within a historical building, an unforgettable theatre experience has been created.

Lighting sketch: jack be nimble

The Hamburg Grossmarkthalle in Germany was completed in 1962 under the supervision of architect Bernhard Hermkes and set new standards with its futuristic construction of glass and concrete. Today it is under heritage protection as one of the last examples of pre-stressed concrete construction in Hamburg.

In November 2012, the City of Hamburg and Mehr! Entertainment signed an agreement to construct a theatre in a section of the Grossmarkthalle, with the aim of bringing a new cultural site to connect with all of the market’s current merchants and dealers. It is hoped the space will open up to the wider public and feature a sustainable concept and new cultural venue.

The Mehr! Theater is completely integrated and free-standing in the Hamburg Grossmarkthalle. The ceiling structure of pre-stressed concrete arches and its interior height have been respectfully preserved in the architectural design of the theatre, while at the same time, have become an impressive feature in the space.

As part of the theatre’s vision, which is able to hold a seated audience of up to 2,400 people and a standing audience of up to 3,500 - offering a wide variety

of possibilities for productions, shows, events, exhibitions and more, architectural lighting implemented at Mehr! aims to distinguish flexible realms within the historical building, adding further to this unforgettable theatre experience. The challenge for the lighting design carried out by Berlin-based jack be nimble (JBN), was to support the open construction design while referencing the historical architecture.

With a published opening concert date set months in advance – including the London Symphony Orchestra as guests of honour – there was no room for delays in delivery and as such it was imperative that JBN met with the construction team early to intercept problems in the planning phase and coordinate the site execution meticulously. Fortunately, the team was able to meet with the architects just as lighting became a topic of interest.

“Our initial involvement was structured as conceptual input, planned to last about a month,” said JBN’s Sophia Klees. “The project grew organically out of an initial sketching session to incorporate nearly every phase of development: concept, design, detailed design, custom-luminaire

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Pic: Andreas Meichsner

design, control systems and site supervision.

The planned areas also grew to include foyer, cloakroom, stairs, circulation, bar, seating area and lavatories… everything but the stage itself.”

In contrast with most theatres, the auditorium, foyer, and bars were combined into a single open space without separation via partition walls or suspended ceilings.

JBN worked to create lighting scenes that differentiated functional areas; guided visitors intuitively; and created the appropriate mood throughout the performance visit. The brief was focused on two specific areas: the entrance / foyer and the circulation areas to the sides of the theatre. Given its unique location, the challenge was to entice visitors into the theatre and beguile them with the interior.

In terms of project specifics, the primary

challenges for JBN concerned budget and timing as Klees explained: “We had to find a way of achieving grand gestures with the lighting using a fraction of the budget typically required… We looked at ways to reduce the complexity and therefore cost of the design by minimising the luminaire schedule. We then re-used elements across the design, benefitting from economies of scale.”

A special linear lighting fixture was developed for the project. It evokes the industrial context of the surroundings while employing modern LED technology to reduce energy usage. The lighting element repeats throughout the project using different arrangements and unique lighting atmospheres are assembled forming subtle coherence for the overall space.

Colour temperature played a significant

role in the lighting concept and bright white lights in cool colours (6,000K) are used in the foyer for increased visibility at a distance. The industrial character of the lighting is designed to also make a statement that this theatre is different. As visitors step deeper into the theatre the atmosphere becomes more colourful, warm and dim and due to the unique open space, the architectural lighting functions as an extension of the show.

In terms of natural light, as a theatre it has been intentionally limited for most of the spaces. The entrance however, was deliberately opened to allow sight into the building during daylight hours. In the evening, the industrial bright lights of the foyer glare into the surroundings, proclaiming the presence of the theatre.

Coloured lighting is limited to the interior,

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Pic: Bernd Jonas

creating a fantastical environment inside the auditorium and circulation areas.

“The lighting scheme had to adapt in response to the expaned brief,” continued Klees, “becoming simultaneously more sophisticated and holistic. The custom linear luminaires create a sense of continuity across the theatre. We introduced a progression in the white lighting, leading from cold, industrial lights in the foyer to warm lavatories at the opposite end. The entire system was joined into a central control panel to grant show designers absolute control over each light point.”

The lighting scheme includes state-ofthe-art DMX control gear to modify colour, intensity and position as an integral part of the architecture. A custom touchpanel interface provides access to pre-

Pic: Bernd Jonas

programmed scenes and individual lighting elements. Additional functionality was provided to integrate the architectural lighting directly into the production controls, enabling the different spaces to blend seamlessly.

Aside from time constraints, JBN had three primary structural constraints to work within, as Klees explained: “Firstly the theatre is housed within a listed building, limiting drilling on existing structural elements and difficult manual installation at height without equipment. Secondly, the theatre was designed with the potential to be deconstructed after 20 years. This meant the lighting needed to be reversible and easily able to vanish after the lease expires.

Finally, the flexible layout of the auditorium can accommodate a variety of uses from corporate events for 300 to musical

Left As visitors step deeper into the theatre, the atmosphere becomes more colourful, warm and dim. Due to the unique open space, the architectural lighting functions as an extension of the show. Above The lighting scheme had to become more sophisticated and holistic. Stageled developed a custom linear luminaire that appears in modified form in nearly every zone to create a sense of continuity across the theatre. A progression in the white lighting was introduced, leading from cold, industrial lights in the foyer to warm lavatories at the opposite end.

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Lighting sketch: jack be nimble

Pic: Bernd Jonas

The project grew organically out of an initial sketching session to incorporate nearly every phase of development: concept, design, detailed design, custom-luminaire design, control systems and site supervision. The planned areas also grew to include foyer, cloakroom (pictured), stairs, circulation, bar, seating area, and lavatories…everything but the stage itself.

productions with an audience capacity of 3,500. The lighting placement needed to accommodate this flexibility and also create an appropriate environment for events of various sizes.”

Minor delays in the construction phase meant the slot for lighting installation and commissioning was pushed right up until opening night, however after nearly twoweeks of round-the-clock effort the system was declared operational and the doors could open for the show. Fortunately, having been involved throughout the project JBN had tackled most of the technical integration problems along the way, but according to Klees the moment the lighting design was unveiled was a nerve-wracking one for the entire team.

“From our backstage vantage point we saw for the first time the effect of our months of planning and execution as the thousands of visitors enjoyed the concert and opening party,” she said.

“With each project we attempt to create

a physical manifestation of our philosophy, embedded in our studio’s name. Usercentred design (jack), ideas with conviction (be), and flexible solutions (nimble).

While this project was no exception, for Klees, Mehr! stands out for several reasons: “The opportunity to be intimately involved from inception to realisation was unique,” she said. “The trust granted us by the architects and the theatre environment meant we could focus much more acutely on the theatrical impression of the lighting rather than strictly the functional; and the grand scale of the space continually impressed, with merged functional areas and a sprawling curved ceiling more than 20m above the floor.”

With a clear design, custom luminaires and flexible set of controls, the lighting design for this unique theatre is certain to take visitors by surprise for years to come. www.jackbenimble.de

PROJECT DETAILS Mehr! Theatre, Hamburg, Germany Client: Mehr! Entertainment Architect: F101 Architekten Lighting Design: jack be nimble

LIGHTING SPECIFIED acdc Plaza 20 uplights acdc Mini Pro Evolution fixtures DGA Lui 01 step light fixtures DGA Gemma 18g recessed fixtures EMS LIGHT per METER LED Flos KAP surface wall fixtures Martin Professional Rush Par 2 RGBW Zoom Stageled Linear LED cw Stageled Linear LED ww Stageled LR-B11-FP-22,15RGBW-1760-B ??

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Pic: David Lake Photography

EARTH MOTHER Cundall Light4 was appointed by The Co-operative Group and Hermes to provide the lighting design for the three earth tubes adjacent to the new Co-operative Group office building at 1 Angel Square in Manchester. Using an Osram Lighting Solutions package, they have designed a showstopper.

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Pic: Osram

Public lighting installations are becoming more common in our cities, both as individual elements in the landscape or as integrated schemes within façades and bridges. Local authorities and the public have an increasing understanding of their importance in defining an area’s ambience, creating a social destination and supporting a sense of pride. With each new lighting installation, the publics’ expectation grows, it is also true that the younger generation are more exposed to and aware of lighting installations and as such they continually need to see something different.

NOMA is an £800m, 20-acre mixed-use redevelopment scheme in NOrth MAnchester (NOMA). The Co-operative Group, working in partnership with Hermes Investment Management and supported by ERDF (European Regional Development Fund) are creating 4,000,000sqft of office, residential, retail and leisure space in NOMA. The central feature of the site is the three concrete and aluminium fin earth tubes.

The purpose of the earth tubes is to supply fresh air to the Co-operative Group office, 1 Angel Square. It is these three earth tubes for which the client required a lighting installation.

The project brief was to deliver an interactive and ever changing light installation. The design needed to relate

to the local and wider community and be available to them as a blank canvas for their own ideas and designs.

In the past, an installation that consisted of a static display or a limited range of animations quickly faded into the city scape and became invisible to passers-by.

What was once innovative or an attraction, finds itself little more than a way finding sign at best. Therefore the new lighting installations must have evolving content and in particular content that engages with the social mood of the area, while capturing and reflecting a global event.

Better still, content that can be created by the community gives an installation an ever evolving, deeply personal and engaging longevity.

In 2014, Cundall Light4 won the proposal as lighting designer for the earth tube lighting installation. In responding to the brief and through a desire to make the earth tubes a global landmark, Cundall Light4 set about identifying who and how people would view and engage with the earth tubes.

In the age of iPad and smartphone technology, it was obvious that this would be one avenue of interaction, but there was also the need to engage with that cheeky five-year-old who is walking past with his mum on the way to the shops. Various ideas of capturing and replaying the movement

Above Designed by Cundall Light4 and implemented by Studiotech the earth tubes feature is now the focal point of the area and a head turning landmark. Below Following Cundall Light4's designs, Studiotech engineered Traxon's proprietary product into a bespoke and interactive solution. Sketches © Cundall.

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The flexibility of the installation means that four different lighting modes can be achieved including Twitter mode whereby individuals can tweet the tubes to command basic colour changes which happen immediately. The added benefit of motion sensors means that the lights follow people around the tubes and can depict shadows on the structures. Sketches Š Cundall.

of people and using fixed furniture as an input device to create the light show were studied. To display the lighting effects, a range of lighting designs were created and presented to the NOMA stakeholders. The preferred design utilised three lighting elements that can be operated together or independently. These elements are known as the curved fin lights, crown lights and linear lid lighting.

Along with the review of the interactive options and selection of the lighting design elements, a series of content ideas were proposed for the day-one scenario. The content ideas included a sunrise to sunset lighting animation that follows a person as they walk past the earth tubes; an app where a person’s music would turn the bass - middle and treble waveforms into light; recreating the tram network and current tram positions; a flower arrangement to suit the seasons and so on.

It was always a requirement that the lighting programming should be easy to update and refresh using open source software. This would allow for future light shows to be created by local schools, art students and visiting artists to the city.

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Stand: September 2015

TRENDSPOT DESIGN

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Pics: David Lake Photography

unique, making the installation a true community project.

During the design period, a number of companies were invited to create mock ups to show what was possible with different equipment and control systems. During this time it became clear that Studiotech using Osram lighting components had the knowledge, skills and equipment to deliver Cundall Light4's lighting design aspirations.

Following a European wide tender process Studiotech started on site in July 2015.

The project ran over a period of just over three months and there were up to twelve Studiotech engineers on site at any one time working through all kinds of weather conditions to complete the project.

Studiotech was the Principal Contractor with overall responsibility for the lighting component design, associated brackets, containment and overall installation of the lighting solution; from the digging of the trenches and ducts to the programming of the finished product.

Studiotech turned to Osram and the Traxon

Pics: Osram

product range to provide the solution to cope with the intricate and nonuniform nature of the structures and then engineered the proprietary product into a bespoke and interactive solution that seeks to enhance the experience of all who journey through the NOMA neighbourhood.

The flexible nature of these products means that each section can be fully customised.

The whole lighting installation is managed via e:cue control servers to provide the tools necessary to control the lighting displays and deliver the interactivity required. NOMA is a complete Osram solution.

The installation totals 28,440 individually addressable lights or 9,480 individually addressable lights per tube. A total of 14km of cable was used to provide power and data to the tubes. As far as energy consumption is concerned, when the tubes were tested it was found that each one was using only 15 amps which, when converted into power usage, equals just 3450W. www.cundall.com

The earth tubes supply fresh air to 1 Angel Square, the Co-Operative office building in NOMA (North Manchester) but comes alive at night through Traxon LEDs controlled by an e:cue system.

PROJECT DETAILS Earth Tubes, NOMA (North Manchester), UK Client: The Co-operative Group and Hermes Lighting Design: Cundall Light4 Principal Contractor: Studiotech

LIGHTING SPECIFIED OSRAM Traxon Media Tube OSRAM Traxon String (17,280 individually addressable nodes) OSRAM Traxon e.cue 3 x Control Engineer, 90 x Butler, 3 x Network Unit

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Pic: Martin Garcia Perez

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FORTIFICATION The history of Victoria Grande Fort is a vivid one. Originally built to keep people out, it then found itself used as a space to keep people in. Later turning to ruins, it was the job of DCI lighting practice to enhance the restoration work taking place by Chacel 8 Architecture and its team through subtle, unobtrusive design.

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Originally conceived as a defence fort and later becoming a jail, the ruins have now been transformed into a space for the public to learn about the building's vivid history. It was the main contractor's intention that the rehabilitation work should connect the different ages and experiences while recognising its charm. Linea Light fixtures are used throughout the project and can be seen in the image below.

Pic: Martin Garcia Perez

Built in 1736 by military engineer Juan Martin ZermeĂąo, the Victoria Grande Fortress in Melilla, a Spanish city in North Africa, was originally designed as a defence fort. Following this, it was used as a prison before becoming derelict through lack of use; today the ruins are open to the public and serve to form the identity of Melilla.

Working as part of a restoration team headed up by architect D. Jose Antonio Fernandez of Chacel 8 Architecture, DCI lighting practice was asked to take responsibility for new architectural lighting that would help to tell the story of the ruins’ history and charm.

The architectural lighting design is the result of carefully applied LED technology

in terms of its integration into the architecture - the luminaires disappear, become transparent even, so as to not interfere with the visual enjoyment of the space. Two distinct works take place in the space - one, when the natural light is present and the architecture itself perfectly tells the history of the ruins, and another when natural light fades and gives way to the creation of a theatrical atmosphere, accompanying the visitor along their journey through the ruins with a continuous play of light and shadows. A number of imaginative linear lighting solutions have been implemented – sometimes they fly under the vaults, drawing swift lines that uplight the ceilings, or create a play of

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Pic: Martin Garcia Perez

The architectural lighting at the fort is the result of careful application of LED lighting from Linear Light and current control systems from KNX and ZigBee. Integrating the technology within the architecture so there was minimal interference in the visual enjoyment, allowing the guests to experience two distinct settings - one when the natural light is present and another when the light fades and gives way to the creation of a theatrical atmosphere.

dramatic backlights in the stone blinds when observed from outside the walls of the fortress.

Around the perimeter, the lighting is integrated into the moats – washing the walls with a play of colour temperatures, recreating the fire glows and blending smoothly up the vertical plane. The light variations in colour temperature achieve a pictorial effect and the accents punctuate the reading of the whole façade. On the side walls the battlements are shaped vertically by light, giving order and rhythm to the image of the fortress, with its volume clearly outlined.

One of the biggest challenges with this project came with its age. In the eighteenth century there was no artificial lighting but the ruins’ story in the present day was to be told through the help of artificial lighting.

According to Javier Gorriz of DCI, this was solved by playing with light, shadows and carefully hiding the different light sources from the visitors. Traditional light sources from the time such as the oil lamp have also been recreated, uniquely designed through a collaboration between Chacel 8, DCI and Ilumarte Lighting Systems. The Candle VGMelilla is composed of a printed circuit board with three LEDs of different colour temperatures, controlled by a ZigBee RF module. Spread around the grounds there are 110 units with individual manual control.

Structurally, the main challenge – as with all restoration work – related to the minimal

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Above Lighting plans provided by DCI for the interior (left) and exterior (right) lighting scheme at the Fort. Below The Fort before restoration work took place, the building had been left to deteriorate for a number of years.

Pics: Jose Antonio Fernรกndez Fernรกndez

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Above An external shot of the Fort before restoration. Below The most important challenge was that in the eighteenth century when the Fort Victoria Grande de Melilla was built, there was no artificial lighting. DCI wanted to be able to tell the building's story through the use of artificial lighting but didn't want it to be seen.

This was solved by playing with light, shadows and taking care not to expose the different light sources to the visitors. Left LegaLux Group custom luminaires hang from the ceiling, while LED Linear fixtures are used to highlight the coves. Right Custom luminaires from Pralibel S.L. highlight the brickwork; HG LED illuminate the ceiling and Linea Light luminaires bring additional light to the walls as guests pass through the tunnel.

Pic: Martin Garcia Perez

amount of space, both visually and to house the infrastructure for the various electric lighting and communication equipment supplies.

“For us, the key to this lighting project is how the light is able to tell the story,” said Gorriz. “It captivates the eye of the beholder, transforming the different space when natural light fades and the magic takes over through artificial lighting.”

Constant lighting tests during the implementation phase and the KNX control system enabled DCI to adapt the reality originally captured in the original project.

“We feel that the lighting design transports visitors to another time, subtly directing their attention to the story we want to tell,” said Gorriz.

Pic: Martin Garcia Perez

Commenting on the project’s stand out features, Gorriz told mondo*arc: “This was one of my first projects of relevance and it has marked a significant moment in my career. The architect and project manager D. Jose Antonio Fernandez, along with the Department of Development of the autonomous city of Melilla, knew perfectly how to transfer their passion for the projext on to each member of the multidisciplinary team.”

Through a keen interest, care and consideration the fortress has been returned to the city of Melilla to tell the story of its history, albeit from a different view point.” www.d-ci.es www.chacel8.com

PROJECT DETAILS Victoria Grande Fortress, Melilla, North Africa Client: Consejeria de Fomento, Ciudad Autonoma de Melilla Architect: Chacel 8 Architectura Lighting Design: DCI lighting practice

LIGHTING SPECIFIED acdc Plaza 35 uplighters HGLED PF15E 12 LED strip lights HGLED custom pendants iLED (Linea Light) Xenia anodised aluminium profile fixtures in amber, warm white & red iLED (Linea Light) Otix Drive-over outdoor, recessed spotlights iLED (Linea Light) Clap LED fixtures iLED (Linea Light) Beret recessed light fixtures iLED (Linea Light) Invas LED fixtures LED Linear VarioLED Flex Venus light line in amber LED Linear Xoolum Hydra HD luminaires LegaLux Group custom model pendant luminaire Traddel (Linea Light) Gypsum recessed luminaires

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Pics: Marcus Peel Photography

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OLYMPIC GASTRONOMY Paying special attention to the Grade II listed building's spectacular architecture, Into Lighting's illumination of London's German Gymnasium is sympathetic to its history, while remaining contemporary and comfortable for the restaurant's guests.

Located between King’s Cross and St Pancras railway stations, German Gymnasium was originally constructed in 1864 for the German Gymnastic Society. It was the first of its type in England and the first venue to host the National Olympic Games.

To complement the newly invigorated King’s Cross masterplan, London-based lighting design consultancy Into Lighting was appointed by D&D London to help realise architects Conran and Partners' vision for a glamorous and contemporary European Grand Café, transforming the Grade II listed building into a unique destination.

Conran and Partners' concept sits as a refined modern insertion within the existing building; a Bauhaus version of a European Grand Café.

The team worked closely with landlord Argent’s base build team and its architects

Allies and Morrison to preserve the building’s core structure, whilst making necessary interventions to prepare it for its new life as a hospitality venue.

The main spatial concept was to reinstate the first floor viewing gallery (previously in-filled in the 90’s for office space) to allow for impressive views of all dining areas and, most importantly, the breath-taking roof structure.

Many of the building’s unique historic details, such as the climbing hooks in the ceiling and cast steel columns, have been retained, setting the tone for the choice of materials, colours and textures for interior detailing. Warm, walnut timber panelling and black and grey distressed leather upholstery have been juxtaposed with fresh, contemporary insertions such as the occasional pink and red tone to add depth

and visual interest.

Into Lighting was briefed by D&D and Conran and Partners to provide a theatrical and layered lighting scheme within the venue, which comprises the ground floor restaurant and bar, first floor restaurant area and bar, including the private dining area along with the external seating and bar areas. The lighting scheme was designed to enhance the space, both throughout the day and into the night, to complement the function of each space whilst creating an intimate warmth in the cavernous venue.

A key factor in the scheme was to highlight the magnificent architecture of the space as well as integrating the lighting to highlight the plush and sleek finishes of the various materials used for the interior design.

As with any Grade II listed building, attention had to be paid to mounting

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positions and cable routing for light fixtures. The control of the lighting was also a careful consideration within the design to ensure smooth and low-level dimming within the various scenes from day to night.

Darren Orrow, Director of Into Lighting commented: “We always relish the opportunity to work with listed buildings and take on the challenges involved. As lighting designers we have a responsibility to respect the fabric of the building and be sure to help visually communicate the history of the building to those who are to experience it.�

On entering the venue, the reception desk is the first element to greet the customer.

This has been integrally illuminated using LED in a profile with diffuser to provide subtle illumination to the front of the desk. In addition, a low level lighting detail softens the monolithic form, while an uplit metallic screen behind the desk gently obscures the view through into the venue.

Positioned high above the main section of the venue, the focal point is the timber ceiling, which is viewed via the new expansive cut-out on the first floor slab.

This is highlighted by an integrated LED lighting detail, uplighting the metal mesh balustrade running around the perimeter of the cut-out.

The main dining space on the ground floor is illuminated by high-level track-mounted halogen AR111 adjustable spotlights, mounted to the existing tie rods which span the building. The client specifically requested lighting to the tables from above.

Also, the fixtures and light source chosen were selected by the client after numerous on-site mock ups where a range of different light fixtures were demonstrated from LED projectors, remote controlled LED projectors to halogen spotlights, hard-wired table lights and table-top candles. This particular light source was chosen due to the extremely narrow 4° beam angle, high

colour rendering properties and the warm colour shift when dimming. A fitting with a deep set lamp and honeycomb louvre was specified to prevent glare for the diners and anyone looking up at the beautiful ceiling.

Upkeep was always going to be an issue with a halogen light source so Into Lighting highlighted to the client that a maintenance programme was essential. With this in mind, Into considered the use of lux lifts to raise and lower the lighting track for cleaning and relamping, however the client adopted for the services of an abseil company to maintain and clean all equipment not just lighting. Under the service contract, abseil equipment is left on site to enable next day high level lamp changes along with any other maintenance issues at high level.

Following on from the main dining space, the bar on the ground floor is situated in front of the open kitchen with large bottle displays located on either side. These are illuminated with linear LED under each of

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Left Page Situated in front of the open kitchen, the ground floor bar's large bottle displays are illuminated with linear LED from LED Linear under each of the glass shelves with a separate LED to highlight the metallic surface on the back walls of the displays. Above On the first floor, guests are greeted by the main bar, which has an expansive LED backlit bottle display, along with integral LED lighting from LED Linear to the front of the shelving, providing illumination to the front face of the bottles on show.

the glass shelves with a separate LED to highlight the metallic surface on the back walls of the displays, complementing the underlit bottle display within the centre of the bar.

The main architectural elements within the venue are two grand staircases sweeping up either side of the ground floor cafĂŠ to take guests up into the higher level.

The staircases have been highlighted via an integral LED handrail detail to subtly illuminate the stair treads whilst not detracting from the views up into the venue.

Feature wine displays sit underneath both stairs and are illuminated using integral LED details to provide both functional and feature lighting.

On the first floor, guests are greeted by the main bar, which has an expansive LED backlit bottle display like the ground floor bar, along with integral LED lighting to the front of the shelving, providing illumination

to the front face of the bottles on show.

In addition to this, the bar lounge is illuminated using decorative floor, table and wall lights to help create a relaxed ambience. The booths running down either side of the venue are illuminated using miniature LED spotlights, discretely mounted on high-level beams to provide specific table illumination. A concealed LED profile, mounted on top of the beams, highlights the timber ceiling within each booth.

Alongside this, statement decorative wall and floor-mounted feature lights, selected

by Conran and Partners, provide a relaxed ambient and visual feature.

The main architectural details are the listed ornate columns and vast timber arches spanning the venue. Out of respect for such structural elements,the columns are up-lit by floor recessed LED ingrounds with a colour correction filter to ensure warmth of colour temperature along with a deep baffle

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The main dining space on the ground floor is illuminated by high-level track-mounted halogen AR111 adjustable spotlights from Flos, mounted to the existing tie rods that span the building.

and glare shield to avoid dazzling diners nearby.

The timber arches are sympathetically lit using surface-mounted LED projectors with a very controlled optic and cowl to avoid any glare. The bespoke artwork either side of the first floor bar is illuminated with bespoke LED picture lights designed specifically for each piece.

The lighting to the external ground floor seating areas consists of LED profiles and LED spike lights concealed within the bespoke seating, planter and bar, providing functional and key focal point illumination, whilst also being fully IP rated as these fittings are open to the elements.

All LED lighting throughout the project is controlled using a DMX protocol to allow for smooth dimming to an extreme low level.

Tina Norden of Conran and Partners said: “Every D&D restaurant is a unique destination and treated with a particular and distinct design approach. Our brief for German Gymnasium was to create a modern interpretation of a classic brasserie, with German undertones – which led to much research, exploration and analysis.

As someone with a German background myself, I was particularly conscious of our responsibility to honour and celebrate the building’s past as well as take it forward to an exciting future as a destination

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Right The venue's grand staircases sweep up either side of the ground floor café, leading guests to the higher levels, highlighted via an integral LED handrail detail from LED Linear to subtly illuminate the stair treads whilst not detracting from the views up into the venue. Below Designed by Hoare Lea Lighting as a part of a site wide concept by Speirs + Major, the external façade lighting is subtle yet effective. acdc Q recessed low-glare LED in-ground uplights highlight the building's stunning brickwork, while KKDC SIL surface-mounted LED window reveal lights and acdc Blade surfacemounted low-glare LED profiles wash the windows.

In the area around the building, WE-EF PIA 230 luminaires illuminate the streets.

PROJECT DETAILS German Gymnasium, London, UK Client: D&D London Interior Architect: Conran and Partners Lighting Design: Into Lighting (Darren Orrow & Anthony Stead) Exterior Façade Lighting Design: Hoare Lea Lighting from concept by Speirs + Major Exterior Bar and Planter Lighting Design: Into Lighting

LIGHTING SPECIFIED Interior: LightGraphix LD51 / LD 56 / LD81 / LD151 / LD10238 Flos Pure Spot Flos Mini Glo Ball wall lights Flos IC wall lights Michael Anastassiades Tip of the Tongue table lamps Rubn Hunter Grand standard lamp Orluna Curve Fixed / Surface Integrated LED Linear VarioLED Flex Aton 2 / VarioLED Flex Hydra HD15 Enigma Darklight MR16 / Splash / EM LED / 3-Circuit track Philip Payne 2-NI TM Lighting Bespoke picture lights Mode Lighting EVO-06-18 / EVO-06-09 / EVO-SGP-55-BLK Osram IRC halogen energy saver lamps Bespoke Lighting: Kalmar Exterior: acdc Q Recessed low glare LED in ground uplights KKDC SIL Surface mounted LED window reveal lights acdc Blade Surface mounted low glare LED profiles to wash clerestory window WE-EF Street lighting – PIA 230

restaurant and bar. I hope we have achieved this.”

The external lighting was designed by Hoare Lea Lighting from a site-wide concept by Speirs + Major. The design was developed in collaboration with Allies and Morrison, Conran and Partners, Into Lighting, D&D and Argent to achieve the subtle yet effective lighting of this important building.

Into and Conran and Partners have achieved a dramatic lighting scheme that is theatrical whilst being sympathetic to the magnificent architecture. Lighting has been successfully integrated where possible, so as not to detract from the architectural elements of the venue itself. The layered and integrated lighting throughout the cavernous venue ensures intimacy and warmth of ambience wherever guests sit within the space. www.into.co.uk

TRACE, by artec3 Studio. “Light reveals shape�

Striving for a manner in which to illuminate areas without revealing the light source, and inspired by the trace of light created by the moon during an eclipse of the sun, gave rise to the beginnings of a luminaire which shows its shape when it is lit, creating a smooth and soft-focus light which seems to have emerged from inside a line. The light it emits is clear and uniform and it begins its journey on the same plane of the wall.

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Pics: All courtesy of Hufton+Crow unless otherwise stated.

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WANDERLUST Schiphol Airport has grown to such a size that it now offers direct flights to 319 destinations and in 2014, the number of travellers it served grew to almost 55 million. Conveniently located at the airport, Hilton Amsterdam Airport Schiphol aims to offer travellers a home-from-home experience. dpa lighting consultants developed an advanced LED lighting system that works to create a variety of atmospheres within the hotel.

The new Hilton Amsterdam Airport Schiphol hotel, with its 433 bedrooms and 1,700sqm of meeting and event space, is designed to be the airport’s leading conference hotel.

Designed by acclaimed Dutch architectural practice Mecanoo, the impressive landmark with its iconic cubic mould, diamondshaped windows and large atrium and 42-metre high glazed roof aims to challenge expectations of airport hotels.

With a breath-taking interior featuring quirky details, bringing contemporary design, innovation and Dutch inspiration to life, the quiet and spacious guest rooms, first-class amenities, conceptual axis lobby and cocktail bar, Bowery restaurant, and eforea spa, make the brand new Hilton Amsterdam a welcome retreat for business and leisure travellers alike. What’s more, the hotel is linked to the airport via a covered walkway, bringing travellers directly from the terminals to the meeting centre and hotel. By gradually descending to ground level at the hotel entrance, the

walkway creates a physical link between the plinth and upper level, while improving connections to new development The Base and the office park along the Evert van der Beekstraat.

The diagonal pattern of the hotel exterior serves to emphasise the iconic appearance of the building - by grouping the glass and composite panels in white and grey, a large scale diamond pattern is created making the building recognisable from a substantial distance. At the same time the pattern strengthens the unity of the different building volumes, blurring clear boundaries between the individual rooms and floors.

Inside, the design is as unique as the façade and building form. The thinking was to create a ‘Dutch touch’, taking recognisable Dutch design icons, history and traditions as well as the characteristics of the land and its people today, and translating them into a contemporary world-class hotel.

Creating a home-from-home for travellers - furniture, lighting, fabrics and floor

coverings were carefully selected to evoke a sense of home and the narrative of lace embroidery and crochet (traditional art forms in Dutch life) threads through the design.

The large and light atrium is at the heart of the hotel, from which guests and visitors experience the inspiring feel of the open space. Making use of the 42-metre high glazed roof, is the main meeting area.

Mecanoo designed the atrium to have a strong identity – with the size, surrounding gardens and light horizontal lines of the balustrades and white elements that reflect daylight deep into the building, providing an air of grandeur. From the smooth winding galleries guests have a spectacular view of the atrium, while the incorporated advanced LED lighting system - developed

by UK-based dpa lighting consultants allows for the creation of a variety of atmospheres. The atrium also plays a role in energy saving with outside air filtered before it is introduced into the space,

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where it is then preconditioned for the rooms, resulting in a reduction of energy consumption.

Speaking exclusively with mondo*arc, Michael Curry of dpa lighting consultants explained the idea behind the lighting design: “Our brief was fairly open and because it was such a vast site we approached it in a master plan way while responding to the architecture, which is very strong and bold and then enhancing the interior space, which brings in softer components.

“We had a blank canvas from the beginning and it really was a collaborative process with Mecanoo and The Gallery HBA (responsible for the interior design), which

is great as you can progress with ideas as you go along. We’ve worked with both companies on many occasions previously and they’re definitely the sort of designers that will have an idea but don’t try and force the lighting design. Quite rightly, they want to get the best solution and is achieved through working with a lighting designer.”

Commenting on the atrium lighting specifically, Curry explained how he was keen to avoid the overuse of downlighting within the space, as for him it results in the feeling of guests being under the spotlight; it is better to use integrated lighting in a clever way.

“Providing an overall ambience was the

During the daytime the atrium is bright and flooded with natural light and on a dull day it’s different again, meaning all the lights need to be on to get any sort of contrast. Daylight was an important starting point for the lighting design because there’s so much of it coming through and this informed the team as to where to put the lighting. Fixtures from Lucent were used predominantly for accent down lighting to all areas of the hotel including the public areas and guest rooms. Zumtobel was also used for the functional lighting in the public spaces. Linealight features throughout the concealed ceiling slot details to the guest corridors, as well as wrapping around the skirting details around walkways and steps.

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Low level lighting layout drawing provided by dpa lighting consultants.

success of the space here,” said Curry, “and the transition from day to night is really very different.”

During the daytime the atrium is really bright and flooded with natural light and on a dull day it’s different again, so certain lighting elements needed to be on full to provide accent and noticeable contrast.

According to Curry, daylight was a really important starting point for the lighting design because of the sheer volume of light entering the building, which informed the team where to position the lighting.

“The lighting is very reactive to daylight levels and we used an architectural lighting control system with an astronomical time clock featuring overrides for the staff to control,” he said. “Each of the components

and groupings are controlled separately so that we can have certain lights dimmed down or turned off during the day. At night the space has a really comfortable ambience where all the activity is at the low level on the ground floor. We created different atmospheres and focal points creating contrast with light and dark and areas of interest such as the bar, the reception and so on - it seems natural to provide focus so people know where to go.”

Ellen van der Wal, Partner at Mecanoo and responsible for the Hilton, also notes the importance of appropriate lighting levels in a project, telling mondo*arc: “The use of natural light in the atrium was essential - as it is for all of our architecture projects – so this was included in the designs from the

beginning. There were lots of changes in the early stages and there was a time when the Hilton Group wasn't so keen on the idea of the atrium but thankfully this changed.

“Lighting is so important to consider in architecture because it’s part of the well being of people – it’s healthy,” continued van der Wal. “Your whole system of day and night and your biological clock is based on it – it’s very important. Hotels should have outstanding lighting levels in my opinion, because every space needs a good lighting concept, I always advise our clients to work with lighting design experts to achieve the highest quality level. Lighting is a small part of a project, but in some ways it is the most important part.”

In order to achieve a level of comfort in the

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Pic: Will Pryce

atrium, The Gallery HBA created ‘islands’, each of which support a distinct function: reception, lounge, library, gathering and the bar. Inbetween the ‘islands’ the sandcoloured limestone of the floor becomes the pathways. The wall, which charts the course of the entire ground floor, is variously functional and a piece of art; weaving through quiet and busy areas, helping to define spaces and providing degrees of privacy.

“The decoration within the screen around the perimeter of the ground floor is like a ribbon that runs around the whole space,” said Curry. “We responded to this by back lighting it and then floating it around the whole perimeter, tying everything together.”

The elongated restaurant located on the ground floor, along the façade aims to draw

passers-by at Schiphol Boulevard inside.

Featuring a playful and upbeat design with quirky furniture features, floor-to-ceiling black metal and textured glass panels break up the space, designed to screen parts of the restaurant during quieter times in the day. The restaurant is another area where Mecanoo insisted on a lot of natural light and an important element was that diners should be able to see the outside world.

Moving through the rest of the building, for dpa lighting consultants, key lighting considerations included the corridors, which each feature a line of light running around the skirting detail – again wrapping like a ribbon from the ground floor all the way up to the twelfth floor; on the guest floor levels the linear light continues up to the ceiling and wraps around.

The bedrooms are divided between the

Above Left The meeting rooms are flooded with daylight, softened by sheer curtains. Zumtobel fixtures also feature for the functional lighting in the business and meeting areas. Left The bedrooms facing out to the airport feature at least two diamond-shaped windows which frame the picture over the Dutch landscape. Above Right The various islands in the atrium aim to create a home from home environment, which included the use of ambient lighting and comfortable furnishings. Right Integrated linear light runs throughout the hotel, wrapping around like a ribbon from the ground floor all the way up to the twelfth floor.

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exterior side of the hotel looking to the outside world and airport, and rooms facing the interior, which overlook the atrium and interior garden, dabbled in indirect daylight through the glass atrium ceiling. The rooms facing out to the airport feature at least two diamond-shaped windows, which frame the spectacular picture over the Dutch landscape.

In order to achieve the ideal levels of lighting in the bedrooms, something which can sometimes be tricky to achieve, Curry explained how working with a good client was key: “The operators have a design focused team as well as a technical team to check standards, which are there to set a precedent of light levels,” he said.

“We made sure we ticked all of the boxes and so in the bedrooms you can sit at the desk and read a book and the light’s in the

right position; there is adequate lighting in the bathroom without being too stark or bright and each of the rooms feature areas of focus.”

Also working as a conference hotel, it was essential that all of the 23 meeting rooms, business centre and ballroom, which has a capacity for up to 640 delegates, had a functional layer of lighting.

The meeting rooms are flooded with daylight, softened by sheer curtains and benefit from movable partitions that allow for flexible layout, while the boardrooms are distinguished by full-length windows that enable users to feel connected with the buzz of the lobby below.

In terms of challenges with lighting the hotel, for Curry when it came to restricting natural light, while in the architect’s remit, it can effect the space for lighting

Quirky furniture features including floor-to-ceiling black metal and textured glass panels break up the space in the restaurant, designed to screen parts of the restaurant during quieter times in the day.

The restaurant was another area where Mecanoo insisted on a lot of natural light and an important element was for diners to be able to see and connect with the outside world.

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PROJECT DETAILS Hilton Schiphol Hotel, Amsterdam, The Netherlands Client: Schiphol Group Architect: Mecanoo Lighting Design: dpa lighting consultants Interior Design: The Gallery HBA

LIGHTING SPECIFIED Encapsulite T5 Lamp Trays for linear flourescent lighting ERCO Quintessence recessed spotlights LightGraphix LD57 recessed step lights LightGraphix LD71 recessed downlights LightGraphix LD150 recessed in ground LED uplights Linealight (i-LED) Ribbon Hi-flux 60 LED tape Linealight (i-LED) Ribbon Hi-flux 60 - IP66 LED tape Linealight (i-LED) Side Strip LED tape Linealight (i-LED) Tiny LED downlights Lucent Lighting Prospex 90 Pinhole Edge Accent downlights Lucent Lighting Prospex 90 Pinhole Edge Washlight downlights Lucent Lighting Prospex Focus 90 Accent IP65 downlights Lucent Lighting Prospex Soft 70 Trimless Accent downlights Lucent Lighting Prospex Soft 50 Trimless Accent downlights Lucent Lighting Prospex 100 Accent downlights Osram LINEARlight Power Flex linear LED cove lighting strips Osram LINEARlight Flex Advanced lighting strips Osram LINEARlight Colormix Flex colour changing LED tape Osram LINEARlight Flex ShortPitch LED tape Osram DragonEye LED module for recessed integration Strategic Lighting Archiled Links Mono LED modules Zumtobel Panos Infinity E150HL recessed LED downlights Zumtobel Panos Infinity E200HG recessed LED downlights Zumtobel Panos Infinity E150HG recessed LED downlights

Integrated into the guest room skin of the atrium, there are 500 uplights around each strip of copper detailing. Without a lighting designer the space would have looked completely different, the lighting aims to evoke an emotion.

designers as he explained: “If there are areas where there’s decorative lighting or features, it can effect how we work with it. For example, on this particular project with the backlit wall, if the space is too bright then you don't appreciate some of the architectural features that have been enhanced with lighting.

“What’s worked well in this instance is that the panels on the backlit wall aren’t in direct sunlight as there’s a bulkhead in front or above it, so it’s shielded from direct sunlight – so then the lighting helps to lift that space. It’s about striking the right balance at all times.”

Key elements of the project for Curry included the scale of the atrium and level of detailing together with both architect and interior designer – both were totally

open in allowing dpa lighting consultants to improve on the interiors using lighting.

“An example of this is where we’ve integrated into the guest room skin of the atrium, there are 500 uplights around each little strip of copper detailing. Without a lighting designer the space would have looked completely different, the lighting aims to evoke an emotion.” van der Wal added to this with: “There were lots of challenges along the way with this project. In terms of lighting we wanted to make use of the beams above the atrium space and this was a big challenge as we wanted them to be lit but didn't know how to make this happen. dpa lighting consultants came up with the idea that they should put a transparent panel on top of the structural beams that holds colour changing

LEDs behind it. This took a lot of changes and tweaks along the way to get it right but I was very happy with the end result.”

Concluding, with the Dutch panorama as design inspiration, the hotel introduces its guests to the Netherlands with views out onto the polder landscape. Located at the main access road to the arrival and departure terminals, the design maintains the rhythm of the building volumes along Schiphol Boulevard. From its plinth, the hotel is rotated by 45º giving the building not only momentum, but creating a visual connection to both Schiphol Boulevard and the Ceintuurbaan. www.mecanoo.nl www.dpalighting.com

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Pics: Andrew Beasley

BREAKING BOUNDARIES Treating the London space more like a gallery than a showroom, Lighting Design International has created a strong lighting design that works within the minimalist and refined architectural space, while working to reinforce Deidre Dyson's reputation as a contemporary and stylish artist and designer.

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In the era of online shopping, creating a retail environment that people will want to visit is key. More importantly, the space needs to reinforce the brand and create an experience, not just a shopping opportunity.

As a renowned artist and designer, Deirdre Dyson’s move into the luxurious carpet market has challenged the way consumers think of this traditional flooring. With her contemporary aesthetic and vision of carpet as art, Lighting Design International’s (LDI) approach to conceptualising the lighting was not along the traditional route.

The concept was to treat the showroom like a contemporary gallery as opposed to a traditional carpet showroom. Working with the clean lines of the Timothy Hatton designed interior, LDI integrated the lighting where possible to provide a subtle backdrop against which the carpets could shine.

With a corner location on Chelsea’s vibrant King’s Road, it was important to create a strong presence that reinforced the client’s contemporary and stylish design aesthetic.

While by day the windows allow glimpses into the gallery spaces, it was important that by night the showroom gave a strong unified presence. When the gallery closes, the automated system drops the blinds on the upper floors and activates the linear LEDs that are integrated into the window sills. This provides a soft wash light to the blinds, giving the showroom a strong understated presence, which is clearly visible from a distance. To reinforce this further, the brand logo is captured in silhouette, backlit with linear LED to highlight the fluid forms of the client’s signature.

With a deep floorplate, a unique glass-block

wall was designed to allow natural light to filter into the main client consultation area to the rear of the ground floor gallery. To enhance this effect the glass blocks were softly washed with light from a ceiling slot bordering the space, silhouetting the desk and creating a backdrop to the gallery. In addition, the lighting from the basement skylight below washes the lower part of the wall, giving a magical floating effect.

The client consultation area is accented with ceiling recessed spotlights providing good task lighting for clients to review colour samples and designs. To add additional definition to this space, a linear LED was integrated into the front of the desk, highlighting the monolithic black steel structure.

The minimalist interior and defined display areas lent themselves to the contemporary

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gallery feel that LDI wanted to create. The lighting was used to enhance this feeling further, treating each rug like a work of art, reinforcing the client’s vision of carpet as art.

The gallery spaces were treated in two halves with one side illuminated with a discreet recessed track system, which focuses light on the carpet ‘artworks’ on display. The track system allows the flexibility to change the lighting dependent on the pieces being displayed. Fitting locations can be easily adjusted and a range of optics can be fitted to the luminaires to achieve the desired effect for each rug.

The other side of the gallery was wash lit with plaster-in custom RAL finished wall washers to illuminate the sliding rug displays. In each case, the white light colour temperature and colour rendering were carefully considered to ensure continuity throughout the space and to ensure that the carpets are rendered in their true colours.

The spine of the building comes in the form of a sculptural black steel staircase, which winds its way up the building, linking the

floors and becoming the central transitional space on a customer’s journey through the building. The staircase is key to the experience of the showroom and was deliberately illuminated with only minimal functional light, allowing for navigation through the space. This provides a brilliant contrast to the vibrantly lit gallery spaces displaying the bespoke carpets and rugs.

The lighting to feature the architectural staircase has two elements, each being integrated into the handrail. The first element is a linear LED which washes light over the stair treads, while the second lights the handrail itself, giving definition and visual strength to the spine. The open treads allow light to gently filter through, illuminating the spaces beyond and casting interesting shadows. To address the functional requirements, the integrated lighting has been converted to emergency, eliminating the need for separate emergency lighting.

As an extension of the main staircase, the black steel finned balustrades on the first and second floors visually link the spaces. The subtle integration of custom

mini recessed spotlights between the fins uplights the balustrade, defining this feature while casting dynamic shadows on the soffit above; this also provides an ambient indirect light to the galleries without taking the focus off the main feature - the rugs.

The basement area is home to the design studio and meeting room. With limited natural daylight from the skylight, providing a high colour rendering light source was key.

A combination of infill ambient lighting, task lighting and focused display lighting was used to illuminate the area. To help with eliminating the basement feel, additional lighting was discreetly integrated into the skylight to supplement the natural light on darker days. Even the storage spaces have been carefully considered with high colour rendering luminaires integrated into the joinery to allow for the best colour rendition of fabrics and samples. The cupboard lighting is controlled by door contact switches to allow for functionality and energy efficiency.

The experience extends to the toilets, which have been treated like a luxurious

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home, with light carefully integrated and layered into the space to create a warm welcoming environment. On ascending to the top of the staircase visitors are welcomed onto the roof space, tucked away at the top of the building. Creating a flexible space suitable for both relaxing and entertaining was important. To stay in keeping with the minimal interiors, the lighting has been integrated into the back of the bench, providing a soft low level wash light below the seating while low glare spiked uplights add to the foliage to create some focal points onto the borders of the terrace.

To achieve such a detailed and integrated scheme required a client willing to push the boundaries in defining what a retail space can be, along with a design team dedicated to creating a space that is exceptional in design and that speaks directly with the contemporary stylish design of the client’s product. www.lightingdesigninternational.com

PROJECT DETAILS Deirdre Dyson Showroom, Chelsea, London, UK Client: Deirdre Dyson Architect: Timothy Hatton Lighting Design: Lighting Design International

LIGHTING SPECIFIED Architectural FX / LED Linear VarioLED Flex Hydra HD6 / HD10 / HD15 / HD20 Architectural FX / LED Linear VarioLED Flex Venus White Sideview Bega surface-mounted 4344 luminaires Bega surface-mounted 4345 luminaires ERCO 3-Circuit recessed track + Parcan spotlights Jake Dyson Motorlight wall lights Jake Dyson CSYS task lights John Cullen Lighting Fazer LED downlights LightGraphix LD56 / LD153 / LD41 recessed uplights Lucifer Impact AC LED path lights Orluna mini plaster-in tilt LED downlights Royal Botania Dome Move lamps Whitegoods Square 60 LED wall washes Whitegoods Square 100 LED wall washes

Previous Page Featured in the ground floor gallery are silver ERCO Parscan spotlights and ceiling recessed wallwashers from Whitegoods.

Left The staircase was deliberately illuminated with only minimal functional light to allow navigation through the space. LED Linear VarioFlex Hydra HD10 was applied to the handrail to wash the steps and integrated into the handrail to wash the handrail slot.

Centre The basement is home to the design studio where a combination of infill ambient lighting, task lights and focused display lighting has been used and includes: ceiling recessed accent directional downlights from Orluna; ceiling recessed wallwashers from Whitegoods; task lights from Jake Dyson; and linear LED integrated to the sides of the skylight from LED Linear.

Right On the roof terrace, the lighting has been integrated into the back of the bench, providing a soft low level wash light below the seating while low glare spiked uplights add accent light to the foliage. Linear LED under the bench comes from LED Linear; the decorative floor lanterns are Royal Botania Dome Move lamps; and the spike uplights to planters are from LightGraphix.

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BRIGHT BANKING With clean lines of light used to emphasise and support the striking Foster + Partners architecture as well as adding spectacle and drama to the space, the main banking hall of HSBC's headquarters in Hong Kong is the recipient of considered architectural illumination by MindsEye Lighting Consultants.

The main banking hall of HSBC’s headquarters is referred to as ‘The Cathedral’ thanks to its modern resemblance to a grand abbey. The vast space soars above the glass floor of the main banking hall and is accessed via escalators from the plaza below. The vaulted ceiling is crowned with the sparkle of an immense mirror. The office floors are the galleries and the bridges the cloisters. The eastern elevation contains a grand symbolic gesture, a vast unstained glass window complete with its tracery of mullions and transoms, which extends the full height of the vault.

The idea of lighting the atrium had been proposed more than a year ago by UK-based Mindseye Lighting Consultants. The impetus to develop and implement the concept came from the 150th anniversary of the bank, which fell on the 3 March 2015.

As covered in mondo*arc issue 87 (October/November), Illumination Physics was already engaged on a major project for the HSBC headquarters - the design

replacement of all external lighting and the creation of three large media walls, all of which would be used during the nine month long 150th celebrations and beyond, and was again asked to be involved in the Cathedral project.

With no internal core structure, the building is suspended from the steel exoskeleton and the services are hung from this using bridge building techniques. Thus, architects Foster and Partners were able to create a spectacular atrium that soars 55-metres upward from the glass floor of the main banking hall; itself suspended ten-metres above the ground so that an open public plaza can exist at street level.

The bank’s customers ride up through the transparent belly of the building via the world’s longest free-standing escalators.

The atrium is eleven stories high. Mounted at the top are a bank of giant mirrors designed to reflect natural light being captured by the computer controlled ‘sunscoop’, a massive articulated reflector mounted on the exterior of the south

façade.

At the centre of the eastern façade is the ‘cathedral wall’. This 50-metre high double layer glass wall is transparent on the outside but opaque on the inside allowing natural diffused light to enter, which exposes the remarkable metal structure.

The concept was decorative and conceived of a mix of direct-view lighting and back-lit panels. The areas to be treated included the chamfered edges of the floors that surround the atrium, the 'sunscoop' mirrors and the cathedral wall.

Creating an internally illuminated light box on the chamfered floor edges proved problematic for structural reasons. Indirect grazing light produced obvious aberrations because of the slight differences between the metal panels. Mock-ups and testing found that a direct view LED strip with a 100% diffused lens would produce the best result. The clean lines emphasise and support the architecture and add spectacle and drama to the space. Previously the upper levels of the atrium were regarded as

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too dark and the addition of the line of light on each of the five floors which bound the atrium corrected that impression.

Illumination Physics developed a custom version of the IP Bar rectilinear - an architectural light strip with a unique rectangular profile. The light strip is in keeping with the rectangular profile of the chamfers where a round profile would be discordant.

The installation process called for a new product to be created – the IP Bar Rail as a mounting rail was required to hold the IP Bar as the soffit cladding needed to be removable for access to the fire extinguisher system. It was necessary to attach the rail to the stanchions of the balustrade to provide both structural integrity and a method for concealing the power and data cables.

The 'sunscoop' mirrors were the subject of several tests using both indirect and direct view lighting techniques. It was not the client’s intention to reactivate the mirrors as a light source per se but to celebrate the design and add drama to a feature that had been left in darkness for decades. An aesthetic choice was made, an IP Bar Rail gave the cleanest and most pleasing result and was also the most practical to install.

The Cathedral Wall was the most challenging of the three features to

illuminate. The wall is composed of two vertical layers of glass forming a cavity approximately one metre apart. Between the two layers and the supporting structure are layers of louvered working platforms and a cat ladder system to connect them.

All of this has been designed in the finest detail as is visible from outside the building in Bank Street. The aim was to illuminate the inner glass layer from within the cavity whilst keeping the light fixtures and cables invisible.

Illumination Physics' objective was to illuminate each 1,200mm pane of glass individually, creating a pixel. Content was then created for a variety of dynamic displays that are synchronised with the 'sunscoop' and atrium edges.

Mock-ups with both high powered and low powered LED were performed. Since it was not the client’s intention to activate the Cathedral Wall lighting until late afternoon, lower power LED was sufficient and required only 20% of the power. Illumination Physics Linear Graze was chosen, a very slim and compact fixture using the 5050 RGB chip.

Its modest dimensions also made it easier to conceal behind a custom designed reflector/glare shield, carefully finished to match the existing metal work. www.mindseye3d.com www.illuminationphysics.com

Mock-ups and testing found that a direct view LED strip with a 100% diffused lens would produce the best result. The clean lines emphasise and support the architecture and add spectacle and drama to the space.

PROJECT DETAILS The Cathedral, HSBC Building, Hong Kong Client: HSBC Bank Lighting Concept: MindsEye Lighting Design & Supply: Illumination Physics

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GRACELAND BuroHappold Engineering's lighting team worked alongside SANAA and Handel Architects to create a unique space for the arts and community of New Canaan, Conneticut, that embraces and welcomes its natural surroundings yet utilises intelligent lighting solutions at night to bring the building alive.

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Grace Farms, designed by architectural practice SANAA, is in the northeast of New Canaan, Connecticut, USA. Envisioned as a new type of space to house a new kind of programme where the foundation’s initiatives of nature, arts, faith and community could interact with each other, it is also known as the River building.

SANAA's goal was to make the architecture become part of the landscape without

drawing attention to itself, or even feeling like a building and the hope was that people would have a greater enjoyment of the beautiful environment and changing seasons. Under the continuous roof are five transparent glass-enclosed volumes that can host a variety of activities and events, while maintaining a constant sense of the surrounding environment.

Chosen by the ownership team as the

executive architect on the project, Handel Architects based in New York, worked with SANAA's vision to develop the porous membrane, which includes a 700-person sanctuary / indoor amphitheatre; a library that includes an enclosed glass conference room; commons - a dining room and living room with capacity for 300 and a lower level that accommodates a lecture hall and ancillary spaces; a staffed welcome centre;

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As the day comes to an end at Grace Farms the wooden ceiling throughout is activated, transitioning the warmth of the sunset glow to the interiors. Light is an activator throughout the project: it is playful, focused and calm.

and a partially below-grade gymnasium / multipurpose space with adjoining media lab and game room. The original barn on Grace Farms' land has been renovated to serve as a welcome centre with a greeting space in each of its two wings and houses many of the day-to-day programmes.

The evolution of the design was a process that lasted for over five years, with the project going through several iterations throughout the schematic and design development. The formation of the architecture went hand-in-hand with the evolution of the foundation’s vision of how it would be used, meaning the team at Handel needed to be flexible even through the construction phase in order to make significant changes to the project so that the vision and architecture remained in harmony.

In terms of lighting, according to Handel’s Peter Miller, artificial light was to be at a minimum during daylight hours given the large expanses of glass used on the

project – meaning little additional light was actually needed. “However, artificial light was integral to the night experience,” he tells mondo*arc. “It was important that the building walls were as invisible as possible during the day and night. Use of artificial lighting was critical to highlight interior and exterior elements so that the walls became immaterial.”

Working alongside SANAA and Handel Architects on the project was BuroHappold’s US lighting team, led by Associate Principal Gabe Guilliams. “The initial brief included little in terms of preconceived lighting ideas, other than maintaining a delicate touch on both the building and the landscape,” he tells mondo*arc, “if it had been an option to have no electric lights they would have accepted it.

“SANAA referenced their Rolex Learning Center project and how happy they were with the lighting there, so we studied the project and through dialogue with SANAA, began to understand what it was about the

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Daylight is the dominant light throughout at Grace Farms. The initial brief included little in terms of preconceived lighting ideas, other than maintaining a delicate touch on both the building and the landscape.

Rolex centre that they liked.”

“It’s always important to work with skilled lighting professionals when working on projects of this nature,” picks up Miller. “A truly gifted set of lighting designers such as BuroHappold could immediately understand the concept of what we were trying to build and offer solutions to enhance the experience. They were able to work within our parameters, while expanded our vision for what was possible.”

The main challenge of this project for Handel Architects was to accentuate the invisibility of the building in daylight and at night. Maximum transparency of the glass was achieved through careful selection of lighting including colour temperatures and beam angles.

“In the end, each light needed to be carefully adjusted so that they would properly highlight the opaque surfaces we wanted to see, while not creating reflections

in the glass,” said Miller. “This allowed the building walls to disappear at night and during the day.”

But before the project even got to this stage, the planning and zoning commission hearings were a big challenge – with neighbours confronting the development, concerned that it wouldn’t fit in to the context of their existing rural neighbourhood, particularly given its 1,400ft length and transparency.

“For six months we travelled to New Canaan and gave testimony at monthly hearings defending the subtlety of our proposed project," says Guilliams. “We did a photographic essay on the existing nightscape in and around New Canaan to contrast the norms of the neighbourhood with our design at Grace Farms. Central to discussion was how the revered Glass House by Philip Johnson functioned at night. We demonstrated that the significant

transparency was a benefit because there were few opaque surfaces to become light reflectors.

"Johnson recognised the need for landscape lighting at the Glass House so that he could see through the glass at night instead of only reading himself and his housewares in reflection," continues Guilliams.

“We ceded that we needed light outside of our volumes for this very reason. The trees in the landscape would receive uplight to serve this function and to minimise the visual impact for the neighbours we only illuminated trees from the river building’s side.”

The covered walkway that extends the full length of the building was also a perfect receiver because it follows the slope of the hillside and is not visible from neighbours’ vantage points across the valley. According to Guilliams, uplighting the ceiling enhanced the sense of wayfinding at night and

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PROJECT DETAILS Grace Farms, Conneticut, USA Client: Grace Farms Foundation Architect: SANAA Executive Architect: Handel Architects Lighting Design: BuroHappold Engineering

LIGHTING SPECIFIED Artemide surface mounted CFL sconces a-Light ceiling recessed fluorescent downlights with diffuser Bartco surface-mounted fluorescentstrip fixtures Bega 12ft high pole lights with single CFL pole head Bega 12t high pole lights with double CFL pole head BK Lighting surface mounted cylinder shape LED downlights BK Lighting signage lights BK Lighting in-ground adjustable tree uplights BK Lighting concrete ceiling recessed LED downlights Cole Lighting incandescent mirror lights Crenshaw Lighting custom made suspended pendants ERCO bollard lights Flos free-standing CFL decorative floor lights Flos ceiling suspended CFL decorative pendants Feelux surface-mounted LED strip fixtures iGuzzini Express Mini ceiling recessed LED downlights iGuzzini wall recessed LED step lights Kim Lighting wall recessed LED path lights Lighting Service Inc pendant mounted track Lighting Services Inc track mounted LED heads Lightolier recessed 2x2 fluorescent downlights Lightolier surface-mounted gasketed fluorescent strip lights Lightolier ceiling suspended CFL cylinder downlights Lumenpulse LBX surface mounted LED lights Metalumen linear recessed LED downlights with diffuser USAI Bevel LED Trimless ceiling recessed LED downlights Winona in-ground LED uplights 1212 Studio customised suspended pendants

appealed to SANAA in a very similar way to the Rolex Center; the purity of the surface material was maintained by removing light fixtures from it.

Structurally, the building was a lot kinder to BuroHappold largely because the team avoided locating lights in the ceiling. The big exception to this is the sunken gymnasium, where they chose to tuck lights in to the ceiling. “We did this to minimise visual obstructions as seen from the landscape,” says Guilliams. “The roof has a slight bow to it and doesn’t offer much view to the ceiling surface from outside – so we managed to limit light spill to the landscape.

As discussed, natural daylight is the dominant light throughout the day at Grace Farms with not much electric light required. As the day comes to an end, the wood ceiling throughout becomes activated, transitioning the warmth of the sunset glow to the interiors. “We’re really pleased with

the way lighting works at Grace Farms,” says Guilliams. “We did 15-20 mock-ups during the design process, eliminating the risk involved for a number of our more aggressive design ideas. We struck a delicate balance between the need for the interiors to be functional; the exteriors to enhance that function; and for the two together to create a singular experience.”

For BuroHappold, light in this project is an activator; a wayfinder through the site, it is playful and promotes socialising in the commons. It is focused, with light on task in the library and it is calm – imbuing a sense of serenity in the sanctuary. From higher density landscape lighting outside the commons, to largely moonlight glow outside the sanctuary, the gradient density of landscape lighting supports the human transition upon ascent from social spaces to the place of prayer.

One of the stand out lighting features in this

In the sunken gymnasium BuroHappold chose to tuck the lights into the ceiling in order to minimise visual obstructions as seen from the landscape. A beautiful ceiling detail was created using Flos Glo Ball fixtures in the commons and the sanctuary.

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project is the beautiful ceiling detail devised

by BuroHappold using Flos Glo Ball fixtures in the commons and custom pendants in the sanctuary. In their standard form, the Glo Ball fixtures have a massive canopy mounted to the ceiling that holds the ballast. The custom pendants in the sanctuary have a 120cm canopy at the ceiling to make the wiring splices accessible, as is required per the US National Electric Code.

“We preferred that all of this be concealed and accessible from above the tongue-andgroove ceiling,” says Guilliams. “We worked with the contractor where several slats from the ceiling would become a removable panel at each fixture. The panel would extend from glulam to glulam. The stems for each fixture now appear to pass straight though the ceiling, without a hint of their supporting canopies.”

In considering elements of the project that could have been approached differently, from an architectural point of view Miller tells mondo*arc: “A lot of effort was spent to make the exterior spaces and the glass enclosed spaces work perfectly. The care

spent in those spaces is evident such that it makes the opaque interior spaces feel more enclosed than they could be. If we had more time, I think we would have made more examinations on how to treat the opaque interior spaces.”

Summing up, Guilliams notes that the biggest distinguisher at Grace Farms for him, was the singular focus from everyone on the team, from the client, to the designers, to the builders, telling mondo*arc: “In large, I credit this to our client Sharon Prince (Grace Farms Foundation President). It has been her mission to see Grace Farms come to fruition – and she was relentless. From the lighting side alone, she was at nearly every mockup we did, mockups that often lasted until the early hours of the next morning. I can only imagine how that permeated to the other 30 plus consultants on the project, and the final result speaks volumes. The sense of camaraderie on this team is one that I can only wish to have on future projects.” www.burohappold.com www.handelarchitects.com

Landscape lighting was needed at Grace Farms and so BuroHappold ceded that it needed light outside of their volumes. The covered walkway that extends the full length of the building features lighting from Winona and follows the slope of the hillside - it is not visible from the neighbours' vantage points across the valley.

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Pics: Moreno Maggi

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AS EASY AS ABC...

Mario Cucinella Architects created a unique space for children to learn and discover at a new kindergarten in the Reggio Emilia region of Italy. A delicate lighting design that achieves a high level of environmental standards was achieved through a considered approach.

Replacing two previously existing schools damaged by an earthquake in the region of Reggio Emilia, Italy in 2012, Mario Cucinella Architects (MCA) won the architectural competition for the design and build of a new school in the area. Having been given just fifteen months to complete the project, Kindergarten Guastalla can accommodate 120 children up to the age of three and aims to stimulate the children’s interaction with the surrounding space.

Nothing was left to chance when considering the new building; from the distribution of educational areas to the choice of materials used, the integration

between indoor and outdoor spaces and more. The architectural elements of the new kindergarten were carefully considered

by MCA – such as the shape of the interior, the organisation of the space, sensory perceptions of light, colour and sounds, all taking into account the pedagogical and education of the children.

In terms of the lighting system at the kindergarten, MCA used high luminous efficiacy fluorescent lighting fixtures from IDEALLUX. In the classrooms, they can be set according to motion and brightness, while scenarios can be activated via remote control. In the relaxation rooms the

light intensity can be manually adjusted, while in the service areas and passage areas the lights turn on and off through motion detectors and timings. These were carefully positioned so that they can work in an optimal manner providing complete coverage, with disturbances avoided.

As the building features large amounts of glass surfaces, special attention was given to the lighting control; the sensors constantly measure brightness by taking into account both natural and artificial light.

Lighting was such an important consideration for MCA that at times it

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becomes a prevailing element of the decoration, while remaining an extremely important part of the behind the scenes technology.

“This was one of the reasons we chose to work with the lighting brands specified,” said Architect Mario Cucinella. “IDEALLUX's Fluo range produces clear and simple lines which can guarantee light quality and quantity necessary for this particular environment.

“Artificial light in our opinion should imitate - as closely as possible - natural light,” continued Cucinella. “The mental and physical balance of people – especially children, is highly influenced by light. We therefore included a specific technology with a dimming system, which guarantees the necessary quantity of light depending on the levels of external sunlight. This allowed us to reach another important target within energy saving. Environmental compliance of

the whole project was also guaranteed by the choice of lighting fixtures.”

Commenting with what made the kindergarten stand out as a project, Cucinella told mondo*arc: “The structure involves the use of natural materials with low environmental impact. In particular, the supporting structure is made up of a wooden frame: a safe and ideal material to keep the thermal insulation of the building.

The high insulation, optimal distribution of transparent surfaces, the use of advanced systems for rainwater harvesting and insertion of a photovoltaic system on the roof allows the building to minimise the use of mechanical equipment to meet the energy needs of the school.”

MCA has created an environment where children are driven to discover places that are complex and at the same time familiar, where they can develop abilities through special features of each.

“Even the areas between the classrooms and laboratories are designed to be used by the children,” said Cucinella. “Along the route there are play and relationship areas, niches where they can stop and discover transparent elements to peek out of.

“Starting from the internal signs, the sensory journey is continued and articulated outside, integrating the trees and encompassing the structure,” Cucinella concluded. “Protected areas for the activities of the children, educators and parents have been created.” www.mcarchitects.it

PROJECT DETAILS Guastalla Kindergarten, Italy Client: Guastalla Municipality Architect: Mario Cucinella Architects Lighting Specified: IDEALLUX, iLED, Disano, SBP, Linergy

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1.8 London, which also featured in Durham, by Janet Echelman, Lumiere London 2016. Pics: Matthew Andrews unless stated otherwise.

A TALE OF TWO CITIES Beginning in Durham and then moving on to London, Creative event company Artichoke pushed themselves to the limit by organising two Lumiere festivals within two months of each other.

Producers of extraordinary live events, Artichoke is one of the country’s leading creative companies and is a registered charity, funded by Arts Council England. Its previous projects include: Royal de Luxe’s The Sultan’s Elephant, which brought an estimated one million people onto the streets of London in 2006; La Machine’s 50foot high mechanical spider for Liverpool’s Capital of Culture celebrations in 2008; Antony Gormley’s One & Other 100-day long invasion of the Fourth Plinth in Trafalgar Square, London in 2009; and Deborah Warner’s commission for the London 2012 Festival, Peace Camp, a nationwide celebration of landscape and poetry, which

took place across eight separate sites around the UK. Artichoke creates and produces Lumiere, the UK’s largest light festival, which has been staged in the medieval English city of Durham every two years since 2009; and in Derry~Londonderry in Northern Ireland as part of the celebrations for City of Culture 2013, commissioned by Culture Company 2013.

The Lumiere festival, first commissioned from Artichoke by Durham County Council, completed its fourth edition in the city last November 12-15. Featuring some of the world’s most eminent artists working with light in all its forms, in 2015 the Durham

festival attracted 200,000 whilst it is estimated that the 2013 festival brought economic benefits to the area worth £5.8m.

Helen Marriage, Director of Artichoke said: “I’m was so excited to put this new Lumiere programme in front of Durham’s discerning audiences. This was the fourth time that we’ve brought Lumiere to Durham, and each time we've tried to innovate and bring new parts of this glorious city into the festival. Artists both local and international delight in the opportunities of working with such extraordinary architecture and landscape.”

Council Leader, Cllr Simon Henig said: "We enjoyed welcoming everyone to our

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Top Left Rainbow River by Alison Lowery & Richard Hornby - a prism emitting light across the river Wear, Durham. Middle Left LuminĂŠoles by Port par le vent - brightly-coloured dream-like creatures ebb and flow, like fish out of water, twisting and turning through Durham's streets. Left Fools Paradise

by NOVAK - video-mapped animation of local folklore with soundtrack by Ed Carter transformed Durham Castle. Above Complex Meshes by Miguel Chevalier - inspired by Durham Cathedral’s ribbed vault arches, an interactive virtual canopy of light twists, moves and evolves in response to the movements of people below.

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beautiful city and seeing it in a whole new light. Only Artichoke could arrange a whale in the Wear and bring the history of the universe to life at Durham's spectacular Cathedral.”

But that was nothing compared to the monumental task of organising London Lumiere a mere two months after the Durham event had taken place.

Taking place 14-17 January 2016, London’s first Lumiere light festival transformed the city’s streets and buildings with spectacular artworks. First estimates put the numbers of visitors at over 1 million attending the festival.

“The sheer size and scale of London made this a different proposition, as did the multiple agencies involved. But the ambition was the same. Leading international artists working with light engaged with the urban landscape and architecture to create a place where strange and wonderful things happen,’’ said Marriage.

Supported by the Mayor of London, Lumiere London turned King’s Cross and London’s West End, including Leicester Square, Piccadilly, Regent Street, St James’s and Carnaby into a magical pedestrian playground, encouraging Londoners and tourists to explore the heart of the capital and view it in a new light.

With founding support from Atom Bank, Bloomberg Philanthropies, Heart of London Business Alliance, London & Partners and King’s Cross, plus additional support from a host of partners and sponsors, including Westminster City Council, Lumiere London presented installations by 30 international artists, at some of the city’s most iconic locations.

Top Cloud by Caitlind r c Brown & Wayne Garret - Interactive sculpture built from 6,000 incandescent light bulbs draws in visitors of Lumiere Durham. Originally commissioned by Museum of Contemporary Art for Art Experiment 2013, Moscow. Middle The World Machine by Ross Ashton, John Del’Nero, Isobel Waller-Bridge with support from Carlos Frenk and Richard Gower, Durham University Son et Lumiere - projected onto Durham Cathedral, telling the story of the birth of modern cosmology from the twelfth century until the present day. Left Mysticéte by Top’là Design / Catherine Garret - projection onto water screen, a whale splashes in the River Wear, Durham.

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Pics: Matthew Andrews unless stated otherwise.

Pic: Will Eckersley

Top Audiences from across the world were enthralled by Garden of Light by TILT - a glowing tropical garden filled with giant plants in Leicester Square Gardens, London. Aquarium, Benedetto Bufalino & Benoit Deseille’s iconic red telephone box filled with exotic fish at London's Grosvenor Square, was a firm festival favourite, drawing audiences to the leafy garden square in Mayfair. Left At Westminster Abbey, audiences stood mesmerised by The Light of the Spirit, a digital painting by French artist Patrice Warrener, who had bathed the Abbey’s West Gate in an electric riot of colour. Above Along Regent Street, pedestrianised for the event, crowds gathered to see Elephantastic!, a 3D, larger-than-life projected elephant stomping through the Air Street arch. Diver by Ron Haselden makes a splash during Lumiere London.

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The Mayor of London Boris Johnson said: “I am thrilled by the success of Lumiere London, which has brought a wonderful burst of imagination, colour and creativity to our city’s streets in the middle of cold, dark January. It could not have happened without the input and support of the many businesses and agencies who helped to make it happen. We have been astounded by the crowds, which exceeded all our expectations and brought a boost to the West End and King’s Cross and are delighted by the response, not just from Londoners, but visitors from around the world.’’

Marriage, concluded: “It’s been an unprecedented four nights for London and the turnout has been extraordinary. Thank you to all our partners who helped make this event possible. Over a million people came to experience something truly magical and unusual: this great world city turned into a temporary pedestrian playground.

While the success of the festival did mean that contingency measures had to be put into place occasionally to help keep the crowds moving, the atmosphere has always been amazing. This festival has been about more than seeing the art. It’s about people sharing public space and re-discovering the city.’’

Over 200 volunteers from across the capital were recruited to support the festival through Team London, the Mayor’s volunteering programme for London, and whose local expertise and knowledge of the artworks helped make the festival a success. www.lumiere-festival.com

Pic: Grainge Photography

Pic: Will Eckersley

Top to Bottom 500 children took part in workshops at schools in the area to help make Litre of Light at King’s Cross, London. In Carnaby, on Broadwick Street, visitors gathered around Julian Opie’s animated LED monolith – Shaida Walking. The piece has been commissioned as a permanent installation and will be illuminated during the day and night. 195 Piccadilly, an animation by NOVAK featuring the faces of some of the UK’s best-loved TV and film stars, was projected onto BAFTA, London. Hundreds of Londoners of all ages played their part in appearing on film in the spectacular Circus of Light, projected onto the Granary Building at King’s Cross.

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WALKING ON WATER This edition of the 55-day Amsterdam Light Festival was dedicated to the theme ‘Friendship’ and took place from 28 November 2015 until 17 January 2016. mondo*arc editor Paul James was delighted to be on the judging panel to choose the installations and visited the Dutch capital to see the results.

Now in its fourth year, the Amsterdam Light Festival ran from 28th November to 17th January for a 55 day extravanganza of lighting creativity. The 38 lighting and multimedia installations attracted an amazing 850,000 visitors (100,000 more than last year).

I was honoured to be part of the judging process alongside such luminaries as American light artist Janet Echelman; Rogier van der Heide, artistic leader of Amsterdam Light Festival; and Jeroen

Junte, a freelance editor who writes about design and architecture; to choose the magnificent installations for this year’s event.

The festival has grown year on year in terms of popularity both with artists and visitors.

Amsterdam Light Festival consists of two main routes. The boat route, Water Colors, offers a unique view of the city from the perspective of Amsterdam’s famous waterways. The walking route, Illuminade, winds its way through the culturally rich

neighbourhoods Weesper and Plantage in Amsterdam East. During the festival, light played a central role in the city as museums and institutions organised light-related activities introducing visitors to innovations in light art.

The fifth edition of the Amsterdam Light Festival will take place from the end of November 2016 till January 2017. The deadline for submissions is March 11 2016, 10am CET. www.amsterdamlightfestival.com

Pic: Janus van den Eijnden

FRIENDALA ARTIST: Oh my Light! Studio To the Chilean artists Macarena Meza and Daniela Orallana of Oh my Light! Studio light art is a way to generate emotions by transforming light into a sensory experience. Their Friendala is a good example of this. Half of the work consists of a big mandala, an Indian symbol for unity and integration between peoples. The reflection of the light in the water constitutes the other half of the circle and makes the work complete. The artists hope that in turn the work will infuence the visitors: “We hope that the Friendala will subconsciously touch the people who observed it so that they will take along some of the harmony and the peace it stands for.”

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Pics: Frank Karssing unless otherwise stated

PATHS CROSSING ARTIST: Ralf Westerhof Those who visited the festival two years ago, would recognise Ralf Westerhof’s style. In the 2013-2014 edition he created Drawn in Light, but with this new project, Paths Crossing, he manifests himself even more lavishly.

The work constists of colourful, 160 metre long lines of light that stretch out over the canal from bridge to bridge. While you are tranquailly sailing along in your boat, the work comes alive. Suddenly you feel as though you’re inside an animated cartoon and your eyes are the camera. All around you a story about friendship begins to unfold. The abstract lines are like a colourful linear diagram – every one of them has its own colour and represents a person. Lines moving towards each other are friendships growing. The lines also form figures that make up sculpture groups, representing certain stages of life.

Paths Crossing is a universal story about paths that may cross, or run parallel to each other, sometimes for a short time, sometimes for life.

INFINITE SUPPORT ARTIST: Lightform Infinite Support is a project created by the Dutch collective Lightform, which is made up by the young creatives Dorus van Lieshout, Ivar Posthumus, Daniël Thomassen and Raoul van der Ploeg. The collective, four sworn friends, focuses on finding exciting applications of new technologies. With Infinite Support they translated their ideas about friendship into a beautiful light object. “To us friendship means supporting one another through thick and thin. As far as we’re concerned, friendship is never ending.” What we see are two drop-shaped objects, visible from afar beause of the subtle changes of different colours of light, enticing the public to come closer. The two shapes turn out to need each other to stay upright. If we come even closer, the sculpture, that can be touched, turns out to contain mirrors, suggesting an unfathomable depth. According to Lightform, the mirrors symbolise real friendship: a bond without limits.

THE UNITING LIGHTSTAR ARTIST: Venividimultiplex The theme of the project The Uniting Lightstar by Venividimultiplex is clearly friendship. To begin with we see from afar a multangular, luminous object. More precisely a dodecahedron, which, in its turn, consists of twelve pentagonal surfaces. That number corresponds with the number of stars in the European flag. Getting closer, you see numerous strings of blue light which connect all the points of this artificial star and which represent the continual relationships between the European countries and their inhabitants. The Uniting Lightstar contains another characteristic of friendship, namely the human capacity to boost friendships and let them grow. The sculpture has been positioned in such a way that it is a part of both the boat route and the walking route and the festival’s visitors collectively control the intensity of the radiance of this diamant. With The Uniting Lightstar, Venividimultiplex wants to convey the essence of friendship in an iconic manner.

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WINGED MIGRATION ARTISTS: Judith Hofland and Tessel Schmidt Winged Migration is an interactive video installation created by theatre maker Judith Hofland and filmmaker Tessel Schmidt. In the Wertheimpark there is a larger than life-size birdbox that looks out on to an old tree. As soon as you enter the little house, a bird starts to fly. The more people come in, the more birds start to fly around freely.

To people freedom is not always as self-evident as it is to birds. In the theatre Hofland and Schmidt often use video, trying to confront the audience interactively with the current situation in Europe. In this work, as in many others they have created, the artists combine reality and fiction. In this case they use video mapping on an existing, old tree, and add the projection of birds. Visitors of the birdbox are invited to take a stranger inside with them in order to let more birds fly and make the tree glow, which constitutes the interactivity of the piece.

RUN BEYOND ARTIST: Angelo Bonello Run Beyond is a work about the jump we all have to take in our lives: the jump to freedom. Artist Angelo Bonello does not tell us what kind of freedom, the spectator has to make up their own mind about that. The figures flash in sequence to give the impression of the movement of the jump before all figures shine together.

As Bonello explains: “To me this work is about the power of imagination, a power so strong that it makes individuals conquer their fears and limitations and causes them to open up to other cultures, new friendships and unknown worlds.”

TALKING HEADS ARTIST: Viktor Vicsek The two spectacular heads created by the Hungarian light artist Viktor Vicsek show countless emotions and react to each other across the canal. Each head has 4,000 individually controllable LEDs to provide different facial expressions in various colours. As they are connected by WiFi, they react to each other, but also to the interference of visitors. They conduct conversations by means of light. Only when a new boat passes, these talks are cut short, whereupon a new conversation between the heads commences. What is it exactly they’re saying to each other and to the visitors?

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HOLON LIGHT ARTISTS: Michiel Martens & Jetske Visser In science a holon is something that is simultaneously a whole and a part. This looks like a brainteaser, but it is applicable much more frequently than you would imagine. Think for example of the cells that together make up you body, or of atoms that exist on their own, but also make up a molecule. Holon Light, created by the designers Michiel Martens and Jetske Visser, also consists of various parts that form one whole. Holon Light will give you as a spectator an unforgettable experience: a swarm of spinning, hypnotising light spheres is formed directly above the water. They become more fluorescent as they turn and seem to fuse the loose strips.

POLYGONUM ARTIST: Them Sculptures Polygonum is an artwork that investigates the differences (and similarities) between organic and geometric forms and between natural and artificial forms. Them Sculptures, the studio of Belgian artist, sculptor and designer Tom Dekyvere, made the work. Dekyvere has participated in two previous editions of Amsterdam Light Festival.

According to Dekyver: “Today, we live in a world that manipulates the natural environment. Digital devices and microchips are intertwined with the human body.

In art, we also see a lot of nature-based forms.�

BIRDS FLY AROUND WITH YOU ARTIST: Masamichi Shimada Birds Fly Around with You, created by the Japanese light artist Masamichi Shimada, is an interactive licht sculpture based on the zoetrope, a pre-film animation device, consisting of a cylinder that is spun at a certain speed. Looking through the slits in the cylinder, you see a figure moving.

Shimada has taken this simple principle out of its casing and put it here as a larger than life-size object. A visitor who enters the garden will activate the magical machine.

The birds illuminate one by one, giving the illusion that they are flying. The more visitors that come into the garden, the more birds will fly around.

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Pics: Joel Fildes

CITYSCAPE CANVAS Enlighten Manchester festival of light and sound art transformed public spaces across the city centre into an immersive and inspiring cultural celebration. More than fifteen installations and performances brought together an ambitious programme of light works.

Enlighten Manchester festival of light and sound art brought a stellar programme of world premieres, award-winning installations and international artists to the north-west city. Across three-days from 10-12 December last year, contemporary artists transformed public spaces inside Manchester Central Library, Vincent Harris' neoclassical treasure and The Bridgewater Hall, offering visitors an immersive and inspiring cultural celebration.

With more than fifteen installations and performances - the festival was a vibrant hot bed of light, sound and literature.

Following a successful pilot in 2014, the festival launched a new relationship with Manchester Central Library as the main venue to bring together exciting local and

international talent, skills and energy with an ambitious programme after dark. Light works were also on show at The Bridgewater Hall from leading audio visual artist Kathy Hinde and Liverpool-based contemporary composer Matthew Fairclough.

Organiser of the event - 'Curated Place' is a Manchester-based creative production company specialising in developing, delivering, managing and marketing major projects across international borders and with numerous partners. It commissions and presents new music and visual art across Europe and beyond, and has successfully developed major city-wide projects for major institutions and establishments, taking projects from concept through to delivery in the UK, the Netherlands,

Iceland, The Faroe Islands, Norway and Egypt.

Andy Brydon of Curated Place and festival director said: “Being able to deliver the first full outing of a light festival in Manchester is the best way we could launch a relationship with these brilliant venues.

"We’re all looking towards developing the light festival as an annual event to inject some high quality public arts into Manchester’s Christmas celebrations. This year we had some of the UK’s leading sound and light artists collaborating at the boundaries of their disciplines helping us develop the festival from a pilot to a major family event. Next year we’re hoping for more.”

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Far Left Outside Manchester's Central Library, with lighting design from Tyson Lighting in collaboration with Lumenpulse. Above Left Strong lighting elements continued inside Central Library, which was a focus for the festival. Above Right Chandelier Of Lost Earrings by Lauren Sagar and SharonCampbell. Left 1000 Birds

by Kathy Hinde and Matthew Fairclough. Right Visible Words by Invisible People from Richard William Wheater with RECLAIM.

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Light Wave Power by Paul Friedlander

Festival highlights included: Relay (2015) – Kaj Duncan David Techno-logical music for amplified electromagnetic relay and three light bulbs.

A relay is used to individually turn the lights on and off. The acoustic sound of the relay's switches is filtered and transformed.

Performed live, Relay is sound and light combined in a rhythmic, trance-inducing play of echoey clicks and dancing shadows.

Light Wave Power - Paul Friedlander Light Wave Power is a light sculpture and professional development project developed by Manchester Central Library in collaboration with Curated Place and kinetic artist Paul Friedlander. This site specific, kinetic light sculpture was presented in the library’s main entrance hall during the festival and consisted of an overhead kinetic wave light display, which allowed visitors to walk underneath.

A rotating rope was hung between the obelisks, illuminated by chromastrobic light, creating an impressive display of changing colours in double helixes stemming from the rope’s shape.

Visible Words by Invisible People – Richard William Wheater with RECLAIM Neon artist Richard William Wheater has

been working with the RECLAIM project to produce a series of new neon works for Manchester Central Library and around the city centre. Focusing on the silenced voices of youth in society the project created a series of neon statements from participants placed around the city with a centrepiece in the library.

The Chandelier of Lost Earrings – Lauren Sagar and Sharon Campbell Initially stimulated by a collaboration with staff at St Mary’s Maternity Unit at Central Manchester University hospitals, where staff were asked to donate lone earrings, which had formerly been a pair, and which had some emotional resonance or significance for the wearer. A successful press and social media campaign followed, gathering in many thousands of earrings over twelve months. The act of individuals contributing something of personal value, towards a communal project to form something new, found strong resonance among hundreds of people locally, nationally and internationally. Dripping with glittering jewels, delicate threads of fine chain cascade down the curvaceous structure and close-up the individual earrings form a detailed textured surface made out of the myriad of small forms in every colour.

Entropy – Carlos Bernal Entropy is an audio-visual installation based on video mapping projections and sound reactive LED strips. It creates a new dimension, a space-time tunnel where the energy of light is transferred and transformed through the art installation; eight consecutive screens, one projector and mesmerising visuals guided the viewer through the immersive audio-visual experience.

HadroScan – Toby Heys, Anke Eckart and Ulf Pedersen This multi-sensory installation uses the Large Hadron Collider as a reference, where sound and light circulated around the 360º walkway scanning the space for its particles – in the case of the library these are fragments of language. Bespoke infrasonic loudspeakers, along with hypersonic sound systems (directional ultrasound) and regular loudspeakers, circulated three ranges of frequencies. Visitors experienced stimuli that caused the body to enter a flux of affect – sound becoming something felt as well as heard. The light work was synched according to presence and motion so that they eventually travelled together mimicking the scanner effect.

Emotional Fish – Jorgen Callesen and

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Above Entropy by Carlos Bernal. Right The Stories Under Our Feet by Elisa Artesero

Jacob Tekiela Emotional Fish is a moving light sculpture of the performance figure Miss Fish. It emerges from the darkness and comes forward to bypassing audiences in five different shapes.

In a flux between realistic and fictional characters – man, woman, fish, goddess and demon – visitors experienced the many faces and expressions of the apparently living figure. Unlike any other sculpture of a historical person, politician, poet or artist this generative video piece dealt with the question of fragility, indeterminacy and variability. Emotional Fish reflected new possible constructions and ideas about the human mind and gender – a bundle of selves and a fluid gender identity.

The Stories Under Our Feet – Elisa Artesero The Stories Under Our Feet are ephemeral light and text artworks trimming the edges of the Manchester City Library benches.

Short observational poems drawing on changing weather and seasons to create moments of contemplation for people walking by or sitting on the benches.

Lost and Found – Elisa Artesero Lost and Found are understated light and

reflection pieces activated by the viewer.

Passers by interrupt the reflection to become either ‘lost’, ‘found’ or sometimes both to highlight the search for sense of self and connection between people.

One Thousand Birds – Kathy Hinde and Matthew Fairclough One Thousand Birds is an installation

by Kathy Hinde with surround sound

by Matthew Fairclough. Each time the installation was shown, the paper birds were re-made by people from the local community. A statue of Sadako holding a golden crane was built at the Hiroshima Peace Park in memory of her. On the statue is a plaque: “This is our cry. This is our prayer. Peace on Earth.” Every year on World Peace Day (August 6th), people from all over the world fold paper cranes and send them to Sadako’s statue in memory of the innocent victims of war.

Video images of origami birds being folded, strung together and hung in trees were projected onto one side of a hanging of 1,000 paper birds. Images of the same paper birds floating down a river, through reflections of trees were projected onto the other side of the paper mass. Using the paper birds as a projection surface caused

the imagery to distort and fragment, spilling onto the walls.

Luminous Birds – Kathy Hinde Kathy Hinde’s interdisciplinary approach combines different art forms frequently through collaborations with other practitioners, partnerships with scientists, and input from the audience. She has made work for concert halls, theatres and galleries alongside site specific work for outdoor locations and unusual indoor spaces.

She has shown work across Europe, Scandinavia, China, Pakistan, USA, Colombia and Brazil. A new piece seeking to bring more of the natural environment into the city centre saw a flock of 64 origami birds with LED lighting suspended overhead in The Bridgewater Hall Piazza. As night fell the lighting created the effect of birds flying along the street. The birds were arranged in rows, and each bird had its wings positioned at the next stage of flight within the row – aiming to create the impression of stop motion animation, using individually illuminated, hand folded paper birds. www.enlightenmanchester.co.uk

BENT www.halla.eu facebook/ halla.lighting design/ Simona Hrušková

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Pic: James McCauley

LEWES IN THE LIMELIGHT LewesLight is a new light festival launched in October 2015. Taking over the small town of Lewes in SouthEast England, it aims to promote the town's history and beautiful architecture, while showcasing the creativity that lives within it.

LewesLight festival took place for the very first time in October last year. A small town in the south east of England, Lewes sits on the South Downs in an area designated as a National Park with an aspiration to become a Dark Skies Reserve.

The organisers of the event had discussed the possibility of staging a festival in the town for a number of years and with 2015 being the UNESCO International Year of Light, it seemed to be the perfect time to realise these aspirations. Festival Director Graham Festenstein is an independent lighting designer with a consultancy based in the town, and as a designer with specialisms in lighting strategy and masterplanning he was able to see the potential and opportunities LewesLight would have for the community. Discussing his ideas for the lighting event with environmentalist, author, journalist and Lewes resident John May who, inspired by images from Lights in Alingsas festival in Sweden, convinced Festenstein to persevere with his plans.

The aspiration was to showcase what is possible, with a view to developing

the event as an annual festival of light promoting the town, its history, its beautiful architecture and its creativity. Taking place over a two-day period, the festival included lighting installations, an exhibition, talks and discussion. In the spirit of International Year of Light 2015 the intention was to include as diverse a programme as possible including science, astronomy, sustainability, health and, given its special location, environment, wildlife and the impact of lighting in such a sensitive area.

Another aspiration for the event, was that it should be community based. Whilst the organisers wanted to draw visitors to the town, they felt it must be firmly routed in the community and engage with local people, businesses and have a strong educational component.

Educational input was provided by the Sussex Downs College (SDC) located in the town; head of the Production Arts course Philip Rose embraced the event involving his students as a formal part of their course in all aspects, from design through planning to delivery. He also enlisted the help of his colleagues and the students in the

Digital Arts and Photography departments.

The festival was also publicised to local schools through STEM (Science, Technology, Engineering and Maths), a network that engages with professionals to encourage children to consider education and careers in these fields. It is hoped that in future STEM events with local schools can also be included. Whilst the community was core, it was essential that what was delivered was of the highest quality. With this in mind, Festenstein was keen to draw on whatever professional resource was available. Keeping the local theme very much in mind, he approached fellow Lewes resident, theatre and opera lighting designer Paul Pyant, and lighting designers Karen Van Creveld and Paul Nulty, both with Lewes connections all were enthusiastic and keen to support the festival. Paul Nulty also enlisted his codirector Ellie Coombes, who coincidentally grew up in Lewes, to coordinate input from the Nulty team.

The final place was filled by projection artist Alex May; having grown up in Lewes, May returned to the town with one of his pieces Shadows of Light previously shown

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All pics on this page: James McCauley

at the Kinetica Art Show and Tate Modern.

An interactive digital artwork, Shadows of Light, explores the concept of ‘slow interaction’: rather than responding to quick movement, it requires viewers to slow down and stand still, it slowly takes the viewer’s silhouette and uses it as a digital stencil, ‘spraying’ paint that starts to drip and spread into the silhouettes of others.

The festival itself was based in the Linklater Pavilion, an eco building that plays a community role as home to the Railway Land Wildlife Trust – a nature reserve at the edge of the town. Within the building was a small exhibition with displays on Dark Skies by the South Downs National Park; work on the impact of artificial light on wildlife by Dr Alan Stewart from Sussex University; sustainable light sources by Sustainables4U; Brighton and Lewes Downs Biosphere – a UNESCO project; photography from the Lewes Camera Club and SDC; and an educational display for younger children by the Herstmonceaux Observatory Science Centre.

The venue was also host to a short programme of speakers who talked on a

range of subjects: Paul Nulty on lighting design; Graham Festenstein on lighting as part of sustainable urban design; Dan Oakley from the South Downs National Park on dark skies; and Dr Richard Hobday on light and health. The discussions were chaired by Professor Emeritus Peter Mobbs, former Dean of Life Sciences and neuroscience researcher at UCL. There were fourteen installations around Lewes itself, with buildings and spaces lit by conventional architectural schemes, torches, or digital projection. Visitors could navigate these by joining a guided walk or by themselves using a map of the route.

At the end of the night they could reflect on the evening while enjoying the final installation to an atmospheric soundtrack prepared for the event by Starfish, a local youth music project.

The entire event was delivered on a shoestring budget with limited funding and many of the resources delivered by the organisers and designers. Significant support came from within the industry, as the event was affiliated with, and supported by, The Institution of Lighting Professionals;

The Society of Light and Lighting; the International Association of Lighting Designers; and IYOL 2015. Equipment was provided by Commercial Lighting; Meyer; iGuzzini; Light Projects; Architainment; Malham Lighting; SORAA and Osram with additional support provided by Russell Beck Studio and Creative Light and Power.

The organisers were said to be delighted with the final result and feel the first year’s event demonstrated the tremendous potential the festival offers the town; successfully combining community participation with high quality artwork and design, providing something for everyone - residents and visitors alike and across all ages. www.leweslight.uk

Far Left Alex May's Shadows of Light; Castle Barbican by Karen Van Creveld. This Page Clockwise Linklater Pavilion by Nulty; All Saints Church by Graham Festenstein; Pells Pool by Nulty; Sussex Downs students installation.

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Dusk (taken from 'Loomings') RGB LEDs, acrylic spheres, multi-coloured smoke pyrotechnics photographs 2015

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INTO THE WILD Raising questions about nature and landscape, David Ogle's Loomings encapsulates the artist's desire to escape the built-up world we live in through the perception of objects and light in space.

Artist: David Ogle Producer: Mark Devereux Projects Photography: Andrew Brooks

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David Ogle graduated from Lancaster University in Fine Art History and Practice (2009) and an MA in Contemporary Arts Research (2012). Currently undertaking an AHRC funded doctoral research project at The University of Liverpool, Ogle maintains his studio (based at The Royal Standard, Liverpool) alongside ongoing academic study. Having exhibited work

internationally, he has shown in a number of group and solo exhibitions, undertaken gallery residencies and has been awarded several art prizes. Recent exhibitions include: In Another Light, Croft Castle (The National Trust) (2014), Regenerate 14, Berlin/Copenhagen (2014), The Royal British Society of Sculptors Sculpture Shock (Subterranean), London (2013) and The

Catlin Art Prize, London (2013).

His latest work, Loomings, is a project that harnesses the drama of remote landscapes through artworks that call attention to their own environments. With deep routed associations in the history of painting and in particular, the Romantic movement, Ogle considers his place within the natural landscape.

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Flood (taken from 'Loomings') purple smoke pyrotechnics high resolution video installation 2015

Developed from Ogle’s previous indoor site-responsive light works and drawings, Loomings encapsulates the artist’s ambition to escape the built environment and the confines of walls, floors and ceilings. Exploring notions of materiality, permanence and the perception of objects in space, Ogle uses light and space as a sculptural medium,

as the location shapes the work but also becomes manipulated by it.

Taken from the title of the first chapter in Moby Dick, Loomings references the narrator’s (Ishmael) feeling of being pulled towards the wilderness and wanting to leave behind the constraints and domesticity of the city. Ishmael is travelling through a barren landscape in search of a

rare natural anomaly - the white whale.

David Ogle is represented by Mark Devereux Projects and Kinetica Museum, London. www.davidogle.co.uk

Galaxy (taken from 'Loomings') RGB LEDs, acrylic spheres photograph 2015

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Lunar (taken from 'Loomings') RGB LEDs, acrylic sphere photograph 2015

Smog No.1 (taken from 'Loomings') multi-coloured smoke pyrotechnics photograph 2015

Of the Whale (taken from 'Loomings') white smoke pyrotechnics, white light photograph 2015

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DIGITAL DISTRACTION Claudia Paz Studio's latest light art installation challenges the general public to feel the freedom of expressing themselves while exploring their senses in a surrounding space generated by light and sound.

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Pixel Flow is an immersive interactive light and sound installation created by Claudia Paz Studio for the general public to explore emotive experiences.

The concept was to integrate the installation within a public space, giving people a magical moment in an urban area where they can interact with the installation and surroundings to create a social environment.

The idea behind the installation was to explore the visitors' senses in a surrounding space generated by light and sound that allows them to express themselves freely.

The aim was that people should feel

wrapped in a spiral of light pixels and sounds that are activated by the natural flow of the body, creating a unique and magical experience. A number of highly detailed immersive scenes allow the exploration of unforgettable scenarios within the installation. There are ten different scenarios in total, each one designed to have a different experience.

Particles of light gently encompass the participants, immersing them in an audiovisual landscape in which even the slightest movement generates light and sound across the space. With each gesture the patterns of colour evolve and move,

while the generative audio system responds accordingly through a dynamic soundtrack to the user’s experience.

The 2,235 pixels are distributed in the structure facing inwards to create a wall of colour, but also on the exterior to create an echo of light that mimics what is happening inside.

Every time a new person enters the installation, the intensity of white light gets brighter to dazzle and transport them into a new scene. Sometimes the visitors will be taken into a world of sound and coloured lights and other times will be part of the natural surroundings of the park.

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So how does it work? A combination of hardware and software allowed the realisation of this installation. With the use of a Kinect camera, detailed movements of the user were detected as inputs to drive organic particles of light across the structure. Highly responsive light particles were handled by algorithms that managed the complex real-time movement of the user, ensuring a natural and fluid reaction from the 2,235 pixels; every movement or gesture of the body can trigger a light pattern and custom sound.

Standing at four-metres high, each rectangular pole integrates small RGB node of CK Flex LM clear dome, individually controlled and separated 10cm from one another. The dots cover the front face and part of the back to create the perception of pixels floating in the space. The metal studs were distributed radially around a circular

platform of five-metres in diameter with a mirror effect finish, generating an infinity space that goes beyond the floor.

The base of the structure is where all the power sources are kept, while a centralised control system and interactive control cabinet are located at the back, along with a wireless connection to control the installation from anywhere. The installation also includes four loudspeakers hidden in the back of the structure to generate a surround system for each scenario.

Pixel Flow has an incredible responsiveness that captures the participants by surprise.

The installation is a playful development of physically interactive concepts previously explored by the studio in the interactive aquarium for La Rambla shopping mall, Aurora and Light Garden for Plaza Norte Mall and BCP Affinity. www.claudiapaz.com

Highly responsive light particles are handled by algorithms that manage the complex real-time movement of the user, ensuring a natural and fluid reaction from the pixels. Every movement of the body can trigger a light pattern and custom sound.

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AS TIME GOES BY

A London Christmas premiere for 2015, 'Timeless Elegance' is an immersive light art installation designed

by ACT Lighting Design illustrating the concept of the suspension of time.

The first edition of Timeless Elegance, a light art installation signed by ACT Lighting Design's creative team, marked the beginning of the 2015 Christmas season on the prestigious Regent Street in London.

The Philharmonic Orchestra, conducted by Nicholas Dodd, played a musical piece by Pierre Mussche from Musicom, which was composed specially for the occasion.

Koert Vermeulen, Principal Designer and Julie Boniche, Artistic Director at ACT Lighting Design created the Christmas lights - programming the lighting, video animations, and projections to accompany the musical composition.

On the hour, every hour, visitors were treated to an exclusive compilation of video projections and programmed lights that

brought the sculpture to life. This ambitious dynamic installation was designed to evolve in time to reflect the brand values of Regent Street and convey its atmosphere of glamour during the festive period.

ACT Lighting Design's concept was a sculpture of time – nowadays a genuine luxury. The lighting team illustrated the concept of ‘suspension of time;’ by showing

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Pics: ©2015 ACT LIGHTING DESIGN - photo by Tomasz Kozak - all rights reserved

each element of an enchanting innovative clockwork mechanism, which paved a suspended ‘golden way’ for the visitors.

The proposal was to rediscover the festive season of Christmas with a new artistic perspective and a touch of avant-garde.

For the first time in London's festive illuminations, ACT Lighting Design imagined a challenging lighting scheme with a custom created combination of video projections, dynamic pixels, tinsels of light and LED screens integrated into the decoration.

The installation consisted of five distinctive decorative compositions placed at 9-10m high on the straight crossovers and repeated randomly all along Regent Street (800m x 25m) in intervals of approximately 50m.

Each composition included a series of 24 elements as an interpretation of the clockwork pieces. These elements, made of metal, were scattered along the street with

a systematic application of basic and special elements together with connection pieces.

In order to obtain the most appealing look during the day and various visual effects by night, each of those elements differed in style, surfaces and specific colour codes (yellow, rose gold and lead metal).

In addition to the compositions, and especially in the diagonal crossovers, tinsels of light with small glitter diamond shapes (approximately 100mm x 200mm spaced every half metre) filled the atmosphere moving freely in the breeze and reflecting the light rays, further creating a golden immersion.

The lighting scheme was based on a combination of video projections, dynamic pixels, tinsels of light and LED screens integrated into the decoration. The largest elements of the composition served as the projection surface for the scenography and

unique video content.

Custom-created video animations were projected in a loop during the evening hours, featuring crystallised textures and engraved textures of the watches and gift boxes with Christmas greetings. Each hour, visitors could discover the main attraction of a tailored spectacle featuring an exclusive compilation of video projections and programmed lights. Five different video storyboards enhanced the structure with visual and lighting effects.

All visual elements (video projections, LED RGB lines, LED pixels and the custom LED screens) were controlled by DMX and Artnet. A fibre optic gigabit ring network was implemented to program, control and monitor all the lighting and video elements.

The light art installation and its main spectacle was on show until 4 January. www.actlightingdesign.com

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ART & DESIGN

PAINTING BY LUMENS Combining light, sound and movement, Henk Stallinga's Levity exhibition at Gerhard Hofland Gallery in The Netherlands transforms product design into sculptural works of art.

Dutch visual artist and designer Henk Stallinga lives and works in Amsterdam.

In 1993 he graduated from the Rietveld Academy, after which he opened his own studio that is co-owned by management partner Annemarie Galani.

Although he doesn't consider his product designs to be fine art, parts are often transformed into conceptual multimedia installations and sculptures, which exhibit recurring themes such as a minimalistic visual language, light, sound and movement. For example, the Levity exhibition at Gerhard Hofland Gallery in The Netherlands, consisting of the light installation Lumen Balance, the series Breathe In Breathe Out - wherein paintings are combined with tube lights and the installation A Couch to Match the Painting.

The concepts behind Stallinga's works are often based on our awareness of the everyday world around us, like sense of time, sonorous and visual perception and experience of energy in the form of light, heat or movement.

In the light installation Lumen Balance, lamp tubes float in the gallery space as naturally moving mobiles. These tubes create various hues of white light, in which visitors can recognise the hourly and

seasonal changes in daylight. Stallinga plays with the perception of light by making the viewer aware of the influence that light has on our perception of time and our sense of warmth, simultaneously showing light as an energy that moves.

Light also plays an important role in the series Breathe In Breathe Out. By hanging circular lamp tubes that are strung together in front of a canvas, Stallinga literally frames light. Like a painter he attempts to direct light and dark to achieve a visual illusion. By varying the light's intensity or by partially covering the lamp tubes, forms and depth optically emerge. The subtle brightening and dimming of the light creates associations with the rhythm of breathing. It is this visual game with physical and optical patterns, realised through ingenious programming and production, that makes the artist's work intriguing.

Stallinga's installations are part of several permanent collections, including the Museum of Modern Art in New York, Fonds National d'Art Contemporain in Paris and the Stedelijk Museum in Amsterdam. He is currently working on a major solo exhibition in Japan that opens in 2017. www.stallinga.nl

Top Right Lumen Balance casts light and shadow on to the gallery's blank canvas walls. Right Breathe In Breathe Out appears to float as its many circular light tubes illuminate the black-walled backdrop.

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IALD COLUMN

HOW TO GET A JOB IN LIGHTING DESIGN Paul Beale, Director of Electrolight with offices in Melbourne, Sydney, London and San Francisco, explains the importance of being prepared when looking for the perfect job in lighting design.

SO YOU WANT TO GET A JOB AS A LIGHTING DESIGNER​...

Well done for choosing one of the most interesting careers in the design sector. Get your foot in the door and you’ll probably get to work on some really cool projects with some very interesting people. The work is rewarding and important­­- crucial for the success of any architectural project. You might even sound interesting when talking to strangers at dinner parties.

You now just have to get a job. The problem, of course, is that because being a lighting designer is such a cool gig, you’re going to be up against some stiff competition. But that’s OK because we’re going to go through what you need to know to nail your pitch and land that position.

An important thing to understand is that that while your career path is very important to you, your potential employer will have different priorities. To paraphrase JFK, ask not what your potential employer can do for you, ­ask what you can do for your employer. Your employer will be most interested in her own business and you have to understand what it is that you are uniquely skilled to do which will make her business more successful. This is the key to getting hired.

Do your research and decide who you are going to approach and what are your unique selling points. You need to plan your approach­­- this is a critical moment; get this right and you’ll probably get an interview and your chance to blow them away face to face!

Let’s explore further...

DO YOUR RESEARCH This ain’t a numbers game. Better to send one amazing application than a dozen half­ arsed ones. Start with some navel­gazing.

What kind of firm would you like to work with? A big firm or a small one? What kind of projects are you most interested in? Some firms do lots of hospitality work, others lots of civic/public projects. Does travel interest

you? Are you looking for a large firm or something more intimate? Where could you see yourself fitting in and flourishing?

Look at which firms have won awards in recent years in the fields that interest you. The IALD have a long­running awards program with current and past winners on the IALD’s website. The darc awards website would be another great resource and there may be other local awards programs too.

ENGAGE...

Most good firms will have some sort of social media presence. Look out for their Facebook and Twitter pages, company LinkedIn account, Pinterest and Instagram.

Follow them, read everything and engage with their posts. Do this, there’s a good chance that when you apply the person receiving the application will think ‘I’ve heard of that person’. That should give you a head start straight away.

AND BE UP TO DATE Read up on everything you can in the relevant design press; reading mondo*arc cover to cover would be a good start and a way to demonstrate that you have your finger on the pulse of the industry.

YOUR APPROACH Chances are that your potential employer of choice will receive heaps of applications, especially if they have been advertising lately. How are you going to make your application stand out?

Make it interesting. Make it memorable.

Have it demonstrate your skills. For example, most jobs in lighting will call for some degree of proficiency in graphics, Indesign, Photoshop, CAD, hand sketching and written communication. You have a chance to demonstrate your flair in all of these areas through your application.

Make it concise. The person reading it is busy, you should respect his time. Make sure it’s easy to read communicates the key

points at a glance. Make your CV and folio works of art in their own right. Perhaps a handwritten cover letter would be a nice touch. Make sure you read the instructions; I might say “please send a CV, folio and cover letter stating why you are interested in the position in PDF format”. The first round of my cull is usually to discard any applicants who haven’t done this.

YOUR CV If it doesn’t fit on a single side of A4 paper then it’s too long. Remember, the person reading it is busy and they don’t want to wade through page after page of your high school grades and certificates in cycling proficiency. But do include a very succinct personal statement stating what you are looking for and make sure this is tailored for this particular application.

Lay it out thoughtfully, no funky fonts, no tiny text. Incorporate something visually interesting into the design of the page.

You’re a designer, do justice to yourself by giving it the care and attention it deserves.

Make sure you include something interesting about yourself. Perhaps you are the president of the Succulent and Cactus Society. Perhaps you are an avid morris dancer. Human nature has it that most people like to be surrounded by interesting - ­­and different­­- people. Don’t be afraid to emphasise this on your CV. YOUR FOLIO Here’s another great opportunity to show off your skills in graphics, drawing, painting or whatever your unique skills are. Again, be concise - ­­four sheets of A3 landscape would be ample. If you have more material than that, consider culling.

Show diversity in your experience. If you are straight out of uni you probably have a final year project that you have spent months pouring your heart and soul into.

Tell that story - being a lighting designer is all about telling stories! Show that there was a progression from initial ideas to

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the development of these ideas and then honing your final solution. Photos, reference images, models, prototypes, sketches, CAD details, and the finished piece would tell a compelling story from inception to completion. Employers want to see a clarity of thinking and you need to be able to communicate your ideas effectively.

THE INTERVIEW This is your time to shine. Be prepared.

Think carefully about what you’d like to show your potential employer. Obviously you could present your folio but she’s seen that already. Is there some more material that perhaps tells more of the backstory to the polished folio presentation? Have it all ready to go on your iPad or laptop and check it’s working beforehand. The last thing you (or your interviewer) wants is for you to be faffing trying to find the correct file or trying to connect to a wifi network.

Be on time. Exactly on time. One of my pet hates - and this happens ALL THE TIME - is when a candidate turns up fifteen minutes early and someone in the firm has to stop what they are doing to look after them. The message this sends is that the candidate doesn’t respect the interviewer’s time.

The interviewer probably runs the company and she’s superbusy. The first few minutes of your interview are crucial; don’t get on the wrong side of your interviewer by being unpunctual.

Put some effort into your appearance and wear something smart. Your Metallica tee shirt or reindeer jumper are unlikely to do you any favours. Your interviewer will assume that this is the best you can do and that this is what you’d wear to a client meeting if you were hired.

I try to keep interviews to about fifteen minutes, thirty max. It’s OK to ask how much time you have beforehand and this knowledge will inform how you prepare. Be ready to tell your story in that timeframe.

Think about what questions your interviewer might want to ask. She may ask

things like: • “Why should I hire you?” This is a great opportunity to summarise your best selling points, for example: “Because I am REALLY into lighting, I have excellent experience/ education and skills in graphic design which I feel would be useful to your firm. I understand I don’t know everything but I’m keen to learn and am confident that I would make a great addition to your team.”

• “Why do you want to work here?” Here’s your chance to show that you have done your research, thought about the type of work that interests you and that you’ve chosen this firm as the best in this class.

The interviewer will be impressed and flattered.

• “What are your goals?” Focus on the short to medium term and present them in terms of mutual benefit to you and the firm. “I would like to hone my design skills through playing an active role in the design process and then by creating the most professional, inspiring and thorough reports and drawings. In time I would like to progress into a leadership role.”

• “What salary do you expect?” Try to avoid stating a figure. Instead consider asking what the typical salary range might be for someone in this position. Do your research first and don’t undersell yourself.

You may say that you have seen similar jobs advertised elsewhere in the range of $xxx to $yyy.

• “What are your weaknesses?” Avoid personal weaknesses and look to emphasis positives, i.e. “My drawing skills are not as good as I would like, hence I take taken life drawing classes at night school.”

• “What was your biggest mistake and what did you learn from it?” This is a personal favourite of mine. We all make mistakes, showing that you are human and that you are able to learn from your experiences is a good thing.

• “Is there anything you would like to ask me?” Here’s another great opportunity to show you’ve done your research. “I was

interested to read your blog on blah, blah,” and then add your own thoughts on the issue (which don’t have to be in agreement).

Bring a notebook and pen and don’t be afraid to support your answers by drawing a sketch here and there. That’s what designers do in meetings with architects, if it looks like it’s second nature to you that will be well received..

Make eye contact, relax and smile.

At the end, thank the interviewer for her time, and ask what is the timeframe for getting back to you.

FOLLOW UP It’s a nice touch to send a follow up email again thanking the interviewer for her time and perhaps providing additional information that was not to hand in the interview: “You asked me about my experience of computer rendering, I thought you might like to see these examples from my final year project.”

If you don’t get an offer ask for feedback.

AND FINALLY...

You may do well in the interview and still not get the job. It may be that the employer likes you but the timing isn’t quite right for them at this moment. Keep in touch, keep following the social media and engaging with the firm and don’t be surprised if you get that call to come in for another chat soon.

GOOD LUCK! www.electrolight.com Founded in 1969 and based in Chicago, the IALD is an internationally recognised organisation dedicated solely to the concerns of independent, professional lighting designers. The IALD strives to set the global standard for lighting design excellence by promoting the advancement and recognition of professional lighting designers. www.iald.org

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TECHNOLOGY

Smart Lighting is the new hyperbole of the industry and 2016 is predicted to see a raft of smart lighting product launches but don’t get caught out backing the wrong technologies.

Our technology expert Dr Geoff Archenhold investigates.

THE DEATH OF SMART LIGHTING LONG LIVE SMART LIGHTING Light + Building is only a few weeks away and the majority of press announcements will be centred on smart lighting solutions but what does everyone mean by smart lighting and more importantly what does the lighting designer or facilities manager actually want from a modern lighting system?

Of course energy efficiency is an important metric but today this is a given for any lighting designer who primarily wants to create the right energy efficient ambience for a lighting scheme, however there is a major problem deciding which lighting control systems to adopt. Today lighting designers can choose from the traditional lighting controls companies based on antiquated systems that are either proprietary or plagued with incompatibilities.

The main issues for smart lighting control systems include: 1. Proprietary control systems: a. Lack of alternative vendors. b. Increased costs as captive customer. c. Specialised Engineers required. d. Availability of stock with failures. e. Not linked to a standard which is published. f. How often is the system upgraded or fixed?

2. Control standards and incompatibilities: a. Choosing which control standard should be adopted for a lighting scheme is still difficult as most systems are proprietary. b. DALI has been plagued with incompatibility between suppliers causing clients tremendous problems. c. DMX and RDM control protocols are vastly improved from a compatibility perspective but less adopted for indoor commercial projects compared to DALI. d. Few control protocol for human centric or biodynamic lighting so conventional lighting systems cannot cope with colour tuneable fixtures.

3. Scalability: a. The majority of lighting control solutions do not scale for whole building installations

containing thousands of lights and sensors. b. RF-based control systems eg; Zigbee, Zwave, Bluetooth etc struggle with more than a few hundred nodes within an installation. c. Large-scale DALI installations do not provide economies of scale especially with commissioning times required.

4. Commissioning and after-install maintenance a. Commissioning costs for DALI systems are prohibitively expensive and complex. b. Commissioning 64 DALI devices can take up to fifteen-minutes just to create randomised short addresses alone. c. If a DALI device fails then it isn’t a simple case of just replacing the electronic control gear as the address needs to be reprogrammed by an engineer. d. The majority of smart lighting system functionality will be disabled if there are issues.

Of course every manufacturer will claim their control system is easy to use, flexible, scalable and cost effective but in reality the majority will be based on proprietary technology and thus locking in the lighting designer to specific solutions.

There is however great hope for the lighting designers moving forward as Ethernet based technologies allow the deployment of intelligent systems using standard IT technologies. Currently there are now three Ethernet based lighting control standards: 1. Art-Net 3 and Art-RDM: This Ethernet protocol is an open standard published by Artistic Licence and allows highly scalable lighting solutions up to a couple of million of devices in practice.

2. Art-OSC: This Ethernet protocol is based on an open standard again published by Artistic Licence, however the protocol can be used to convert DALI into Ethernet packets allowing backward compatibility.

3. sACN: Streaming Architecture for Control Networks is a standard protocol developed

by ESTA to efficiently transport DMX universes over the network.

Moving forward these Ethernet technologies

will lead to consolidation and the eventual success and dominance of Power over Ethenet (PoE) for smart lighting solutions.

Specifying Power over Ethernet brings many advantages to an installation: • Time and cost savings - by reducing the time and expense of having electrical power cabling installed. Network cables do not require a qualified electrician to fit them, and can be located anywhere.

• Flexibility - without being tethered to an electrical outlet, devices like light fixtures or sensors can be located wherever they are needed most, and repositioned easily if required.

• Safety - POE delivery is intelligent, and designed to protect network equipment from overload, under-powering, or incorrect installation.

• Reliability - POE power comes from a central and universally compatible source, rather than a collection of distributed wall adapters. It can be backed-up by an uninterruptible power supply, or controlled to easily disable or reset devices.

• Scalability - having power available on the network means that installation and distribution of network connections is simple and effective.

PoE combines electrical power along with the data on standard RJ45 Ethernet cabling often referred to Cat 5e or Cat 6 up to 100m away.

The IEEE 802.3 PoE standards provide for signalling between the power sourcing equipment (PSE) and powered device (PD) to allow the presence of a conformant device to be detected by the power source, and allows the device and source to negotiate the amount of power required or available. There are currently three PoE standards: 1. The original IEEE 802.3af-2003 PoE standard provides up to 15.4W of DC power (minimum 44 V DC and 350 mA) to each device.

2. The updated IEEE 802.3at-2009 PoE standard also known as PoE+ or PoE plus, provides up to 25.5 W of power. The 2009

Parameter

PoE (802.3af)

PoE Plus (802.3at)

4-pair PoE (802.3bt)

PSE Power (W)

15.4

30

99..9W

PD Power (W) (assuming 100m channel)

12.95

25.5

74.55

Current (mAdc)

350

600

1920

Pairs Used

2-pr

2-pr

4-pr

DC loop resistance per conductor (Ω/100ml)

40

25

25

Year Standardized

2003

2009

2016 (est)

Comparison of existing and proposed PoE standards

standard prohibits a powered device from using all four pairs for power.

3. The new IEEE 802.3bt Task Force is charged with creating a four-pair PoE standard that will supply at least 74.55 watts to a powered device, while improving the efficiency of power delivery. This standard will be fully ratified by the middle of 2017.

The biggest barriers to adoption of PoE still need to be overcome and include: • High PSE cost: The PSE equipment is usually high cost.

• High PD cost: Each light fixture or sensor will need to have a PD to convert the power and data to control the product which adds cost.

• Lack of power: The current PoE standards do not offer enough power for the majority of indoor LED lighting applications which are 50W or less.

• Standard not finalised: The new 802.3bt standard will not be ratified until 2017.

Therefore, when the new 802.3bt PoE standard is ratified in 2016/7 we will see a raft of new, low cost PoE smart lighting solutions.

Once every light fixture and sensor has been assigned an IP address we will see smart lighting really take off but until then the majority of systems will be transitory and will not stand the test of time.

Mark my words, unless you make sure you base your next smart lighting and control project on Ethernet based open standards your clients will probably rip the system out within five years!

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.

You can contact him on: g.archenhold@mondiale.co.uk

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TECHNOLOGY

RETHINK THE NIGHT! During the second International Lighting Design Seminar on the island of Kea, Greece, the Hellenic Illumination Committee created Rethink the Night!, aimed at the development and promotion of night friendly lighting techniques for areas of extraordinary night sky quality.

It could be argued that human vision functions totally disjunctively - it doesn't have the ability to simultaneously compare the quality of daylight with the quality of semi-darkness. Aristotle said in the De Coloribus (791a, 1) “Darkness occurs in the absence of light’’. This is a recipe for the creation of the quality of light that we call darkness, which becomes so much more perceptible as light recedes. The receding of light is, in other words, a qualitative and not a quantitative characteristic - one that is totally interwoven with the sense of time.

In absolute values, the changes in lighting at sunset are no greater than those, equally changing, in the sunlight of noon. This was highlighted by Patricio Hales at UNESCO's emissary to Chile: “If we lose darkness, we lose light,’’ he said, on the occasion of the events marking the International Year of Light 2015.

In view of the above, it can be appreciated that light cannot be understood as an element foreign to the night-time landscape; night has specific visual characteristics.

The International Experimental Lighting Seminar, held in October 2015 for a second time on Kea Island, Greece under the auspices of the Metropolitan Bishopric of Syros and with the participation of the Universities of Patras (Greece), Madrid (Spain), Wismar (Germany), and Aalborg (Denmark), yielded new examples of a night-time landscape, proving its visual viability, contrary to scotophobia, which governs the majority of instances of urban lighting.

Kea was chosen as the venue due to its documented high quality of dark sky. This, on the basis of the relevant measurements, proves to rival the model quality of night sky in the Atacama desert

in Chile. The resultant finding is attributed to a combination of two factors: on the one hand, the delay in bringing electricity to the island and its under-population, which have contributed to a low demand for lighting, and, on the other, the strong winds, which prevent the spread of light pollution from the strongly-lit areas of Attica to Kea. Based on phosphorescence, this environment was the ideal location for the applications of lighting, including the countryside Chapel of the Archangel Michael at the town of Ioulida, Kea. The luminance values of the phosphorescent elements, after many hours of discharge, approach the threshold of the scotopic region on the lower limit of mesopic vision, presupposing the maintenance of a natural nighttime level of lighting. This has been agreed to approach 0.3 lx, and corresponds to conventionally calculated moonlight.

This precondition was observed in all three experimental lighting projects carried out at Ioulida on the Greek island of Kea, under the motto Rethink the Night!, such as the night-time elevation of Sts Antony and Menas, of the Holy Trinity, and of the Archangel Michael at Korakogremno.

For purposes of the relevant photometric documentation, measurements were taken with a frequency of 1Hz and special equipment capable of measuring accurately a level of lighting of 50-100μlx and noise of just 20μlx at a level of lighting of 1mlx.

In the neighbouring environment of the three churches, that is, at a distance of 2-10 metres from their elevation, levels of lighting were measured in the public space of 0.06 lx, 0.08 lx, and 0.02 lx for the Churches of Sts Antony and Menas, of the Holy Trinity, and of the Archangel Michael, respectively. These levels are more than four times the level of lighting with a full

moon at its zenith and totally comparable with the median value of moonlight in October for Kea's latitude, which is 41mlx, and the corresponding mean value for moonlight, which is 57mlx.

The applications of night friendly techniques to the darker environment in the Church of the Archangel Michael area were of particular interest. This was, in part, due to the relief of Ioulida, since the distance from the well-lit square, in conjunction with the significant difference in altitude from it and the abundance of narrow paved thoroughfares (which act as traps for artificial light). The resultant values, for the level of lighting along this route to the church, approach 1mlx – a level that corresponds to a typical value for regions with observatories. In the church itself, the replacement of every form of artificial light by phosphorescent striations, coinciding with the occurrence of the joints in the paving, proves to be an ideal condition to scan our galaxy in the unique sky of Kea. The seminar on Kea proved the pragmatism of these particular low-lighting techniques.

Additionally, these techniques now constitute a tool of international range for the promotion of initiatives for the establishment of maximum values for lighting in public spaces. In doing so, acting as a first step towards managing the consequences of public lighting, which are harmful to the authenticity of the nighttime landscape. www.rethinkthenight.com

Right Rethink the Night! consisted of three experimental lighting projects, carried out at Sts Antony and Menas, of the Holy Trinity, and of the Archangel Michael at Korakogremno.

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TECHNOLOGY

SHOW : ROOM Located in central London, in the heart of Clerkenwell's design quarter, Lightworks’ new showroom is a multifunctional occupation of retail, office, lighting testbed and event-space, reflecting its approach to lighting design and product delivery.

With a well-established collaborative partnership cemented over the course of several projects, HK Architects have designed a new showroom for architectural lighting solutions provider Lightworks.

Located in central London, in the heart of Clerkenwell’s design quarter, the brief from Lightworks MD Brad Bartram called for the creation of a multi-functional space that would be at once a product showroom, an office, a lighting test bed and an event space - all within the confines of 110m2.

Known for its high end product and service, Lightworks operate across a wide variety of project applications, from retail and display to commercial, transport and exteriors. The design identity of the space would need to reflect this high level of quality. It would also require the flexibility to display an extensive selection of products from the three complementary brands represented exclusively by Lightworks – Hoffmeister, Prolicht and Luce + Light.

Although compact, the unit in Pear Tree Street has a unique feature - a frontage double the width of the retail space within.

As well as offering increased visibility from the street, this enabled Lightworks to have a curated ‘shop window’ combined with a view through to the multi function space behind – a true SHOW : ROOM. Indeed, this concept of multiple possibilities is embedded throughout the space. Clever use of concealed storage, adaptable screening and mirrored paneling allow a number of very different environments to be created within the room, from office mode to events and presentations, with or without blackout.

A vast array of working lighting equipment is on display, all of which is individually controlled from a tablet. Visitors are not only able to simulate the effects of different lighting approaches, but they can also put products through their technical paces in the test-bed technical space,

located through a blackout portal in the mirror wall. Any fitting can be mounted in this space and demonstrated against a transferred photometric graph.

While the choice of materials has been deliberately kept simple and the palette neutral, the finishes are highly refined and speak of great attention to detail. The use of mirrored panels contributes to the design by replicating the doubling effect of the shop frontage. The fin structure of the ceiling - specially designed to allow for easy swap out of light fittings - is reflected and extended, creating the illusion of a much larger space.

After a carefully delivered construction process, HK have aided Lightworks in achieving a showroom that is a true reflection of its meticulous approach to lighting and product delivery - and an asset to the lighting community. www.lightworks.co.uk

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TECHNOLOGY

Pics: Staffan Flodquist

SEASIDE STYLE Located on Stockholm's beachfront, Villa Moelven is homage to wood as a building material, highlighted by appropriately designed luminaires from Prolicht.

The Villa Moelven is a showpiece project of Moelven - the biggest wood manufacturing company of Norway (Design: Klas Holm, Architect: Widjedal Racki). The project is a homage to the raw material wood and was built in a traditional way of timber construction. It shows that there do not need to be compromises in design or comfort when building a green and energyefficient house.

The open construction lets the house breathe, creating an ideal living environment. The warm water demand gets covered by solar energy; in Winter sun pedestals work together with terrestrial heating. This combination is very energyefficient and is responsible for the low energy cost.

One of the most important features of the interior design is the lighting. The lighting design should create a perfect experience

for its inhabitants.

The LED luminaires used cast the Moelven showroom in an appealing light.

Additionally, the LED fittings boast a long lifespan and high energy-efficiency. The lighting concept for Villa Moelven was done

by Flux, a partner company of Prolicht, who has produced the majority of the used luminaires.

Surface-mounted and suspended luminaires in black with golden-yellow insides are used throughtout the villa to striking effect. This colour scheme creates an exciting contrast while harmonising perfectly with the wooden interior.

The basic lighting is complemented by hidden LEDs, which create fascinating effects and makes the whole lighting concept one of the most stand out characteristics of the Villa Moelven. www.prolicht.at

CSD60 minimalistic design for outstanding output IP65 Feel free to discover new product in Filix family.

CSD60 and his brother CRD60 are impressive surface downlighters with high performance optics.

With Anti-Glare system CSD60 and CRD60 are providing maximum pleasure.

Visit us in Frankfurt at Light+Building 2016 Hall 4.2, Stand J41

For those who do light.

For those who live light.

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TECHNOLOGY

Pics: Manfred Voss

LIGHT OF THE EARTH During the Advent period of Christmas 2015, A&O Technology’s eco-friendly luminaires bathed Autostadt Wolfsburg’s historic chimneys in a festive red.

During the Advent period of Christmas 2015, the chimneys of the old power station at the Autostadt Wolfsburg, Germany were lit using sustainable luminaires from A&O Technology. With its investment in Germanmade FALCON SPELIA Arc plasma floodlights, the Autostadt setting new standards in terms of eco-friendliness and achieving an energy saving of around 75% in the illumination of the power station.

This is now the fifteenth year in succession that the Autostadt has transformed its theme park during Advent into a winter wonderland. The magical set was dominated last year, as always, by the historic chimneys, bathed in red light to look like giant candles. This time, the Autostadt scaled new heights not only with the overall concept of the Winter Wonderland but with its illumination, making use for the first time of A&O Technology’s sustainable plasma technology to light up the iconic chimneys.

“We are going beyond architectural lighting to venture into new markets and will be presenting some amazing new products at the Light+Building,” said Marco Niedermeier, A&O Technology’s CEO. The

lighting specialist has been responsible for the winter illumination of the chimneys now for fifteen years but has come up with a first this year: for the first time, the products of the FALCON SPELIA Arc series are being exposed to sustained use. “In pursuit of an efficient, environmentally friendly and economical lighting strategy, we had already tried lighting solutions ranging from LED to xenon,” explained Christian Kiel, TIM/Director TEM, the Autostadt’s Events Management Technical Director. “For the illumination of the chimneys, however, the SPELIA technology from A&O proved clearly superior. SPELIA convinced us with its massive luminosity.

The lamps could be adjusted precisely to our requirements, allowing us to achieve a homogeneous illumination using relatively few devices. We are really enthusiastic about the results, which we are presenting for the first time ever at this year’s Winter Wonderland.”

The searchlights employ sulphur-plasma technology and with their lumen-to-watt ratio and working life of up to 50,000 operating hours, they constitute an ideal solution for architectural applications. The

continuous light spectrum of the SPELIA plasma searchlights, which come closer to sunlight than any other artificial light source, has been modified here in terms of colour tone using special dichroic filters to achieve the red hue typical of Christmas lighting. With 48 plasma searchlights in all realising an even 360° illumination, the 128-metre towers were bathed in a deep red. Each Sunday in Advent, a new candle was lit, until by the fourth Sunday, all four chimneys lit the way to 2016 for visitors. www.ao-technology.com

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07/12/2015 10:26

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TECHNOLOGY

ART REVIVAL

To highlight the beauty of its exhibits, over 300 of Concord’s Beacon Muse spotlights have been installed in the galleries of Compton Verney in Warwickshire, UK. Compton Verney, an award winning art gallery in Warwickshire, UK, has recently had its lighting upgraded with the award winning Beacon Muse spotlight from Concord. The new lighting scheme was part of a larger upgrade of refurbishment works, supported through a grant from Arts Council England, designed to modernise facilities, improve energy efficiency, and upgrade illumination of the art works. There are over 300 Beacon Muse luminaires installed in the gallery spaces within the building.

Until the early twentieth century, Compton Verney was home to the Verney and Willoughby de Broke family. It has now been transformed from a derelict mansion into a gallery of international standing that combines a stunning art gallery, 120 acres of ‘Capability’ Brown landscaped parkland, custom built learning facilities and a broad range of special events. For

the launch of its 2015 season, Compton Verney re-displayed its nationally important collection of Chinese bronzes through funding from the DCMS/Wolfson Museums and Galleries Improvement Fund. The improved lighting within these galleries has ensured the exhibits are displayed so that their beauty, intricacy and imagery can be fully appreciated.

“We are really pleased with our new upgraded lighting scheme,” commented Sam Skillings of Compton Verney. “We now have beautifully lit galleries that show off the exhibits to wonderful effect as well as an energy efficient system, which will ensure we save on running costs – this is an important benefit for us as we are a registered charity.”

Concord’s Beacon Muse features an adjustable optic system, which can deliver a wide flood 65˚ beam angle that can be

adjusted down to a 10° spot without the need for additional lenses or reflectors. The 10˚ tight spot is ideal for accent lighting for accentuating the texture, colour and shape of exhibits. Its 65°-wide flood distribution can be optimised for uniform vertical and horizontal illuminance and wall washing effects. Also, when used with an elongation lens accessory, it can create narrow beam angles for highlighting sculptures, mannequins, logos and shelving.

Available in 2,700K, 3,000K and 4,000K CCT with a high colour rendering index, Beacon Muse incorporates a discrete onboard dimmer that provides control from 100% right down to 0%. There are also track dimming options and a choice of standard and high output models to suit any display or retail lighting application. www.concord-lighting.com

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TECHNOLOGY

TIP OF THE HAT Standing out in the Houston, Texas skyline, CenterPoint Energy Tower has undergone a lighting upgrade from Acclaim Lighting, bathing its six-storey ‘top hat’ in an eye-catching glow.

CenterPoint Energy Tower started out as a run-of-the-mill office building. Today, it stands out in the Houston, USA skyline, thanks to a previous renovation and a new architectural lighting system including some of the latest LED technology products from Acclaim Lighting.

Located in downtown Houston, the 47-storey tower headquarters for CenterPoint Energy, Inc. debuted in 1973, clad in black glass. At the time, the energyefficient building completely blended in with surrounding buildings; it was barely noticeable, day or night.

In 1996, Houston-based architects DMJM Keating and Kendall /Keaton Associates transformed the tower into a landmark, adding a 90ft, six-storey cap - named the ‘top hat’ - that has an eye-catching, circular hole cut in its middle. The owners of the building decided to line the crown in white lights to highlight the building’s distinct architectural features and, occasionally, the lights were changed to red, green, or blue to reflect certain holidays.

In 2015, tower facilities professionals decided to upgrade the lighting system.

The requirement: these fixtures needed to generate enough power to replace the building’s 1,000W metal halide flood lights without increasing energy costs.

CenterPoint also wanted to be able to quickly and easily change exterior lighting colour schemes to reflect different seasons and promotional awareness campaigns. To achieve this, it turned to DG Studios, who specialise in communications in the built environment. DG Studios assigned Houstonbased Putterman, Scharck & Associates (PSA) to recommend the lighting system.

Based on the lighting criteria, Jody Moses, lighting specialist at PSA, recommended Dyna Drum HO QW and Rebel Bar HIP65 fixtures with the ART SSC Controller from Acclaim Lighting.

“Through our investigation, we found a low-energy, high-output lighting system to highlight the architectural structure,” Moses said. “At the same time, it would provide precise control over the lighting scheme, giving us the opportunity to quickly change colours.”

Specified to uplight the roof’s architectural structure, the Dyna Drum HO QW is a highoutput, outdoor-rated, quad-colour LED flood fixture, featuring an adjustable yoke and on-board digital display. Its 100-277VAC internal power supply consumes only 237W per fixture. The quad-colour chip performs at 6,000K and provides improved colour mixing and more saturated colours over single-source LED fixtures.

The luminaire provides 5,736 lumens, maintaining 70% of them at 120,000 hours.

This outdoor LED flood fixture has beam angles of ten degrees standard, with 20-, 40- and 60° spread lens options for large-scale façade and area flood lighting.

Selected to graze the side slope of the roof, the Rebel Bar HIP65 is a high-power, linear LED wash fixture, available in RGB or white. Its built-in power supply and linkable power/data system make it extremely versatile for both installations and live production. The IP65-rated Rebel Bar HIP65 has beam angles of 10 degrees standard, with 25-, 40- and 10 X 35, and 10 X 60-° spread lens options, and consumes 40W. “Each Rebel Bar HIP65 fixture was individually addressed for the ability to

create interesting lighting effects,” said Moses.

To coordinate the building’s lighting scheme, PSA specified the solid-state ART SSC lighting controller with no moving parts. Designed for permanent installations, this extremely secure and low-maintenance installation control solution offers only minimal power consumption.

The ART SSC is designed to operate without a computer. All operating and programming is done through its dynamic web 2.0 interface. Connected to a browser, the ART SSC unfolds itself into a 1024-channel lighting controller, complete with an industry-standard command-line interface for fast programming. It features 256 scenes with programmable fade and hold times.

This feature lowers the cost of the control system and greatly reduces the need for maintenance.

PSA connected the ART SSC controller to the BMS system for control of the lighting system from the building maintenance office.

“The control system allowed us to quickly program and implement colour changing schemes specified by CenterPoint Energy executives for seasonal and event changes throughout the year,” Moses said. “We have many static colours set to acknowledge events, such as pink for Breast Cancer Awareness and purple for the March of Dimes. We have a time schedule set to automatically activate lighting schemes for events and holidays, including Christmas, New Years, and the 4th of July. It helps beautify the Houston skyline all year round.” www.acclaimlighting.com

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TECHNOLOGY

PLAYFUL PLATFORM As a part of the Barcelona station's rehabilitation, Grupo MCI's Line Grazer RGBW luminaires have been installed to highlight the Plaça de Catalunya Platform station's roof mosaic.

Recently, Generalitat de Catalunya Railways (FGC) finished the rehabilitation and improvement of Plaça de Catalunya Platform station in Barcelona, Spain. FGC is a public company operating in the fields of transport, tourism and mountain-related activities. Its purpose is to contribute towards the improvement of transport and leisure in Catalunya.

To carry out the lighting project of the platform, Grupo MCI recommended to install the technical LED linear projector Line Grazer RGBW. This powerful RGBW luminaire is ideal for highlighting the architecture of buildings, and in this case, to light up the characteristic mosaic placed on the roof, offering exceptional light output and

uniform and efficient wall washing effects.

The control system of the RGBW fixtures is done by DMX communication protocol. A very versatile protocol for light control that allows customers to interact, personalise and create different lighting scenes, depending on the customer’s needs.

Line Grazer, with robust aluminum housing and UV resistant glass cover, is ideal for outdoor and indoor applications that provide a high environmental protection grade (IP66) as well as impact resistance (IK09). The projector is available in a range of monochromatic or color changing temperatures, controlled via DMX or DALI. Also a wide range of beam angles and mounting options are available. www.grupo-mci.com

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TECHNOLOGY

Pics: Will Pryce

LUXURY HOSPITALITY Setting an example of five-star luxury, the lighting scheme at JW Marriott Bao'an in Shenzhen, China makes use of RCL's remoted controlled luminaires to cater to its multi-functional spaces.

The JW Marriott Bao’an in Shenzhen, China’s Central Area business district is a prime example of five-star luxury, not least the impressive Grand Ballroom, which required a lighting scheme that combined a beautiful ambience as well as functionality for the array of meetings and events that the hotel hosts. IlluminateLD delivered this combination in a scheme featuring 114 DR8 remote controlled spotlights from RCL. The Grand Ballroom covers 1,758m2 - the largest ballroom in Shenzhen - and can be divided into three separate ballroom areas, each of which can host functions in a number of configurations, to provide for the corporate clientele of the hotel, and the weddings that the resort could host.

Given the flexibility of the space, IlluminateLD were tasked with delivering a lighting solution that could adapt to the multiple scenarios and use-cases of the ballroom. Architectural considerations were also a key consideration; with a ceiling height of eight-metres, JW Marriott needed adaptive lighting without incurring the expenses and delay that repeat commissioning would entail when repositioning luminaires at such heights.

Simon Berry of IlluminateLD summarised

the challenge: “Long term flexibility is paramount, particularly in ballroom spaces.”

RCL’s DR8 architectural spotlights provided the solution to lighting the Grand Ballroom, allowing the resort team to refocus the luminaires from ground level with safety and ease. As the space adapts, the luminaire can be rotated through both the pan and tilt remotely, allowing them to alter the lighting scheme to new configurations of the space, for example from spotlighting bar areas in an open reception through to precisely lighting the centre of each table in a banquet with soft pools of light.

“Having a fixture that can be remotely aimed speeds the entire process, and the DR8 offers the level of tailored light often required in such spaces,” said Berry.

RCL’s patented technology allows both individual selection of luminaires via iDirect, RCL’s dedicated app for the iPad, and allows for scene recall for individual, or global scenes. Following selection, the luminaire(s) can be rotated ±165° through the pan, and the head can tilt up to a maximum of 90°, giving great flexibility in beam aim.

RCL’s Jason Cheng, Sales Director for the Asia Region summarised the achievements of a fluid lighting scenario for such a space: “The hotels in the Asian region take pride in scale, being able to offer colossal venues in sumptuous surrounds. With ceiling heights routinely double-height or higher, manual adjustments to a static luminaire becomes a dangerous and costly exercise. With RCL’s remote technology hotel’s are empowered with flexible lighting without incurring such risks.

A further area of the hotel that benefited from RCL’s remote control technology was for the smaller Junior Ballroom, which featured 24 recessed multi-directional luminaires from the DR7 family. With a lower room height of 4m, IlluminateLD wanted to avoid any potential obtrusive clutter from the ceiling, and opted for the DR7s, due to their discreet appearance yet exceptional functionality; even at the full 35° tilt the luminaires do not protrude from the ceiling plane.

Like the DR8s, pan, tilt and dim level are all adjusted remotely, providing the same level of flexibility for the smaller ballroom, as for the Grand Ballroom. www.rclighting.com

13 – 18. 3. 2016

Explore the full spectrum!

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TECHNOLOGY

Courtesy of ERCO GmbH, www.erco.com, pics: Dirk Vogel

LIGHT SOURCE Following in the footsteps of Moses, ERCO’s spotlight track system illuminates the Flusskörper exhibition at the KM 51 Erftmuseum in Germany, simulating a watery river run from source to estuary.

What would it be like to follow the footsteps of Moses passing through the waters on dry ground? This and many other questions are answered in the Flusskörper at the KM 51 - Erftmuseum in Germany - a strong river theme, explored from different angles, running through the Gymnicher Mühle historic watermill. Light serves as a didactic element in the exhibition, guiding the visitor through its interactive installations.

Simulating a watery river run, the installation is designed as an oblong walk-in room with graphics and exhibits presenting cross sections of a river with its abundance of animal and plant life.

The watermill is located at river kilometre 51 on the Kleine Erft, a tributary of the Rhine near Cologne. Once used to

grind grain and press oil, archaeological excavations suggest that the watermill existed as far back as the ninth century. Its site was moved over the course of time, until the Gymnicher Mühle was closed down in 1948. In 2005, German milling association Mühlenverband Rhein-Erft-Ruhr converted it into a nature reserve centre, which now includes the Erftmuseum. Extending over more than 450sqm, its exhibition models the 103km stretch of the Erft from source to estuary. Twelve interactive stations convey special regional features with references to global river and water topics.

The project’s exhibition designers, mgp ErlebnisRaumDesign, engaged lighting design office Inlux to develop a scenographic lighting concept tailored to set the right ambience for the experience.

An ERCO track system was installed in the listed half-timbered structure and fitted with Pollux and Optec spotlights with a DALI control system. Staged with dramatic effects of light and dark contrasts, selected objects or architectural elements are accentuated using narrow beams in an otherwise dark room, whilst the specially developed ERCO LED photometric solutions create an interplay of light and shadow in areas such as the illuminated roof structure with its resident imp. As an eye-catching feature, the magic shine of a light wave, made of wires that appear to be selfilluminating, runs through several rooms like a rivulet, and is channelled to cascade down the exhibited mill wheel and along the river water body, before it weaves through the building’s timber frame.

The foyer offers a dynamic lighting scenario using an audio file to emphasise the exhibits. The challenge here lay in programming the interface between media control system and DALI. Firstly, the media control system originates from the theatre and uses its own protocol. Secondly, spotlights used in a theatre setting are not equipped to implement subtle and flexible museum lighting. The backdrop displays a bell that at first glance appears to swing back and forth. Closer examination, however, reveals that the two spotlights illuminating the bell operate in time with each chime to cast a shadow that moves from side to side. www.erco.com

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TECHNOLOGY

GRAND ENTRANCE Located in Stockholm's district of Solna, Insta's instalight series of recessed luminaires grace the entrance to the Mall of Scandinavia Europe's largest and most expensive shopping centre.

Pics:Torbjörn Bergkvist

The Mall of Scandinavia is located about ten minutes outside the city centre of Stockholm in the new district of Solna.

Right next to it is the ‘Friends Area’, where Sweden played against Denmark for the participation in the 2016 UEFA European Championship.

With a record investment of 640 million Euros, the mall is the most expensive and largest shopping centre that has ever been built in Europe. It has a retail gross leasable area of about 101,000 m², featuring 224 shops.

The mall is owned by French real estate company Unibail-Rodamco from Paris which treads many new paths to keep up with the competition, among others in online trade.

In order to expand into a new clientele, the

‘Designer Gallery’ was set up, a separate area for small labels, partly in so-called pop-up-stores. Noticeable is the large number of fashion stores with assortments in the higher price category. Most important tenants, however, are the big international fashion groups. Many of them with doubleheight storefronts, up to 8-metres tall along the 240-metre-long ‘Flagship Mall’.

The shopping mall opened in October with inauguration on 12 November 2015.

The entrance area to the retail complex has been equipped with linear, customersepcific in-ground light lines of the instalight series 1060 LX RGBW (3 pixel each) by Insta.

In the same entrance area, arranged in inversed manner, as a counterpart to the in-ground lights, a ceiling illumination was

installed with a linear LED insert for which Insta developed a new aluminium profile with opaque diffusor.

All luminaires are tuned to one another and reflect the same colours or light scenes, ceiling and floor - an interesting and impressive lighting scheme.

In the floor, there are more than 530 inground light lines, in a custom-made length of 750 mm, and in the ceiling more than 700 luminaires with an RGBW light insert out of the Insta LEDLUX portfolio have been installed.

The whole light control, power supply and fusing was supplied ready for connection in eleven completely pre-assembled control cabinets. Insta also offered on-site support starting with the mock-up. www.insta.de

Track lighting is now wireless.

ONETRACK® is A.A.G. Stucchi track lighting system based on EUROSTANDARD PLUS® platform. This system combines the functionalities of all the current systems in the market and makes the upgrade to controllable lighting systems possible at any time. This state-of-the-art platform makes ONETRACK® the best solution for controllable lighting and perfect for the application of wireless control, making installation easy at any time. The ONETRACK® system, thanks to the EUROSTANDARD PLUS® platform, allows easy and fast integration of wireless control in track lighting applications.

Simply insert the specific adapter into the track and it carries the signal to all the lighting fixtures on it, without any wiring.

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TECHNOLOGY

WASHED IN GOLD In honour of its cultural and religious significance, Griven has illuminated the main entrance gate of Vietnam’s Hue Imperial City, paying close attention to the colours of the emperor.

Pics: PhuThanh JSC- Hanoi

Appointed as a World Heritage Site by UNESCO in 1993, Hue Imperial City is a popular and ancient architectural site in the centre of Vietnam, attracting millions of tourists every year. The foundation of the Hue citadel began in 1804 under the reign of Emperor Gia Long and was completed in 1832 by Emperor Ming Mang.

Facing the South, Ngo Mon is the biggest among the four main gates of Hue Imperial City. Built in 1833 under Minh Mang emperor’s reign, the gate is considered a precious shrine of the cultural and religious relics of the site. Before the recent renovation, Ngo Mon was equipped with a traditional warm white metal halide lamp lighting system, which was not capable of enhancing its aesthetic elements to fully reveal the artistc complexity of its traditional Vietnamese architectural features. Moreover, maintenance and power consumption costs were considerably high.

Within a major restoration project, the renewal of the lighting system at the gate was completed in Spring 2015 in order to let the beauty of the ancient construction shine at night while complying with the energy saving and sustainability requirements of the site. The project has been fulfilled by PhuThanh JSC- Hanoi, leading company in the installation of LED technology in Vietnam and was completed by the end of April 2015 on the occasion of

the 40th anniversary of Vietnam union and independence.

According to the lighting needs expressed

by PhuThanh JSC- Hanoi, Griven’s lighting design department put together a first draft of the installation scheme, choosing the right fixtures to reach the required effect. A strong contrast between the upper and lower part of the gate should be represented by a passage between warm and cold white shades. Yellow, along with all the warm tones of gold, represents the colour of the emperor, a symbol of a high social status but it is also the colour of Buddhism, positivity, life, sun, harvest and joy. White, on the contrary, is the colour of death, mourning and dead cult but it also means pureness and innocence.

In order to achieve a beautiful, intensive golden shade on the upper part of the roof, a custom amber colour configuration was chosen for the compact sized spotlight units installed on the whole perimeter of the gate roof. Owing to their small bodies, a total of 84 units of Micro-Clip MK2 in amber with extra wide or wide optics along with 28 Jade 9 Easy Amber with extra wide optics have been easily mounted on the upper cornice of the gate in order to deliver a pleasant spot lighting scheme. The same pattern is repeated on the canopy, which completes the lower part of the roof with further 99 Micro-Clip MK2 units

in amber colour fitted with either extra wide or medium optics for an optimal light distribution.

To complete the elevated part of the structure with a strong light contrast, 52 units of Micro-Clip MK2, in cold white and with narrow optics, were used to highlight the wooden columns that support the canopy all around the gate. This creates a strong contrast between the central part of the gate - light and empty that rises from the massive lower bastion in order to support the whole upper part of the structure.

For the lower part of the structure - a rough bearing wall - a cold white configuration was chosen to contrast with the splendour of the golden upper part, interrupted only by the warm shades washing the entrance doors. To reach this effect, 78 Parade S-W-20 Recessed luminaires in cold white, equipped with wall wash optics, have been embedded in front of the wall to wash it up with a uniform splash of cold white light. In correspondence with the three front doors, 22 of the same Parade Recessed luminaires but in warm white configuration have been installed in order to achieve the required contrast.

The main entrance gate of Hue Imperial City now shines in celebration of the past glory of the citadel and its emperor. www.griven.com

Come and visit Helvar at Light + Building in Frankfurt on March 13 - 18 2016.

We would like to invite you to come and see our latest lighting innovations for your personal lighting comfort.

Hall 4.0 Stand B 30 For more information visit www.helvar.com L+B_Jan_2016_MondoArc.indd 1

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TECHNOLOGY

LAYERED LIGHT Aion LED’s low-profile luminaires illuminate the shallow coves of architect Elkus Manfredi’s layered ceiling at Longwood Medical Center in Boston, USA.

Architect Elkus Manfredi’s vision of a layered and sinuous ceiling at Longwood Medical Center in Boston, Massachusetts USA was brought to light by Jeffrey Sladen and Reiko Komiyama of Boston-based Sladen Feinstein Integrated Lighting.

Extremely shallow coves called for a low profile product with the flexibility to follow the curvilinear lines and enough intensity to provide a base layer of ambient light, so Aion LED’s 4924-WR Series was selected.

The resulting illumination has flawless colour consistency and a soft organic flow.

Longwood Center’s requirements for absolute consistency and a custom fit were in the wheel house of San Francisco-based manufacturer Aion LED. Aion LED American-made semi-custom systems feature the ideal standard in colour consistency and performance with industryleading 2 Step MacAdam ellipse binning, 95+ CRI and high Red 9. www.aionled.com

Frankfurt am Main 13 - 18.03.2016 Visit us at Hall 4.2 Stand A16

3D LED Flex 100 Z3 system with Xicato XTM LED modules Modular, 3D flexible LED linear lighting system

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

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TECHNOLOGY

MULTIFUNCTIONAL Catering for a variety of different purposes, CLS’ Emerald fixture provides a versatile illumination for healthcare group ‘t Zicht at the former Benedictine monastery in Oss, The Netherlands.

Healthcare group ‘t Zicht provides care, housing, activities and work for people who suffer from autism, a mental disorder or other restrictions. This operates in the former Benedictine monastery in Oss, The Netherlands.

In the monastery there is a chapel, which is currently used for many purposes, including: receptions, business meetings, Christmas parties. It is also possible to book this room for weddings and corporate events - a good reason to use LED fixtures to illuminate the room properly and, if desired, show it in beautiful colours.

Remembering that the chapel is used for

many different purposes, a lighting design was made with HVR Show Equipment. For example, for the general lighting the CLS Emerald Series has been selected. These are incorporated in the ceiling at approximately seven-metres high and serve as ambient lighting. Underneath it, great pendulum spheres are suspended as decorative lighting.

The Emerald is a new fixture from CLS that is the ideal fit here. Due to the large beam angle, combined with high light output, the room is fully lit with only a few luminaires.

The Emerald series is available in four different light intensities and is ideal for

offices, hallways, atriums, theatres, etc.

Its luxury design can be used in ceiling openings of 140 to 250mm.The fixture is produced entirely in The Netherlands using only high quality components at a very competitive price.

To provide the chapel with different atmospheres, the REVO Colour Flow - a highly compact colour changing fixture with powerful light output - is applied.

The fixture is available in a RGBW or RGBA version, and with simple interchangeable lenses a beam angle of 8º to 61º and 12 x 46º is possible. www.cls-led.com

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TECHNOLOGY

KING'S REALM Forming part of a major transformation, LEC Lyon and Speirs + Major have collaborated to provide an adaptable lighting scheme for Lewis Cubitt Square in London's King's Cross district.

With the help of LED manufacturer LEC Lyon, lighting design practice Speirs + Major has turned London's King's Cross district into a safe place for meeting, chatting and everyday life. To meet the requirements of this project, LEC manufactured 45 specially designed, manouverable 4040-Luminy 4 LED spotlights, incorporating custom lenses that provide uniform ground lighting, without risk of dazzling pedestrians.

To meet with the aesthetic, functional and regulatory requirements, the lighting concept is based on five lighting columns, placed in line at the periphery of Lewis Cubitt Square. They highlight the water jets, the relaxation areas and the green spaces around the edge.

These wooden columns, approximately 13-metres tall, each have nine LEC 4040-Luminy 4 spotlights at the top. On each column, the spotlights are fitted with different custom-made lenses, designed for the spaces they are meant to light; the masts and mountings are the work of Townshend Landscape Architects.

For several years, the north side of King's Cross has been undergoing a major transformation with numerous renovations.

The new Lewis Cubitt Square is part of that. This open space, with its clean lines, is split into areas for relaxation, games and a central area left open for holding events and activities. This new, completely redeveloped district now holds concerts, markets and open-air film screenings throughout the year.

LEC’s solution produces a soft ambience, with three different lighting effects designed specifically for the different parts of the square: - Oval shapes projected by elliptical beams for relaxation areas; - Round shapes of different sizes projected by circular beams around the edges of the square; - Small round shapes projected by narrow circular beams near the fountains.

The 45 LEC 4040-Luminy 4 LED spotlights, each fitted with a set of specially designed lenses, ensure these shapes are projected uniformly on the ground.

To do so, LEC placed three independent groups of spotlights on each of the masts: - Four sets of twelve LEDs with custom lenses that form narrow round shapes for the lighting near the fountains; - Three sets of eight LEDs with custom lenses that produce wide round shapes for lighting the edges of the square; - Two sets of twelve LEDs with custom lenses that form ellipses for the relaxation areas.

General lighting to the area is provided by DMX-controlled warm white (3,000 K) LED spotlights, producing a peaceful ambience in the heart of the square. To minimise glare, each LEC 4040-Luminy 4 spotlight is fitted with an anti-glare honeycomb grille.

The set was developed based on a lighting scenario imagined by Speirs + Major that varies light intensity depending on time of day and natural lighting.

Benz Roos, Senior Light Designer at Speirs + Major commented on why they opted for LED technology for this project: “LED technology offers a better overall return than equivalent halogen lighting. Choosing 100% LED lighting allows major energy savings. LEDs also perfectly met the project specifications, which required lighting effects for the busiest times of the square.’’

Describing its partnership with LEC, Roos concluded: “It's a loyal partnership in keeping with the commitments signed with LEC in the past, for example the Paddington Basin project and the Greenwich Meridian project, both in London. Responsive, reliable and adaptable are how I would describe LEC's people both offsite and onsite when needing their technical expertise, with customised solutions, meeting the requirements of our projects.’’ www.lec-lyon.com

Pics: Sam Barnes

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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TECHNOLOGY

A LITTLE LIGHT LEARNING Micro sun shielding louvres from the Osram subsidiary Siteco create natural lighting in the classroom buildings, auditorium and sports hall of the newly constructed Schmuttertal secondary school in Diedorf, Germany.

In the newly constructed Schmuttertal secondary school in Diedorf, Germany, micro sun shielding louvres from the Osram subsidiary Siteco create natural lighting in the classroom buildings, auditorium and sports hall.

The school benefits in several ways – in addition to energy savings, the daylight system also supports the school’s architectural and educational concept.

The fifth secondary school in the vicinity of the autonomous city of Augsburg is based on an especially ecological and sustainable building concept.

Built as a woodframe structure with grass roofs, photovoltaic installations, special air-conditioning systems and heat sensors, the school generates more energy than it requires daily for operational needs (Plus energy standard). Part of this is the factor of light that plays a central role for the Schmuttertal secondary school, and is much more than merely illumination.

The installed daylight system achieves significant energy savings because artificial light must only be activated in a

supplementary way according to needs.

The lighting system also provides a bright atmosphere and stimulating effect for both teachers and pupils. For this purpose, maintenance-free micro sun shielding louvres were integrated into the intermediate pane space of the roof light fenestration of the sports hall, auditorium and the classroom buildings. The highly specular louvres manufactured with ultrapure aluminium enable only diffuse, cool daylight to enter the space while hot, direct sunlight is reflected outwards, thus preventing the excessive ingress of heat.

Another advantage is that larger areas in the roof construction can be opened than would normally be possible due to heat and glare restrictions.

Simultaneously, the bright and transparent spatial effect achieved underlines the educational concept of the secondary school that places much emphasis on the unrestricted development of pupils. A part of this is having less traditional frontal teaching to allow work based on groups and the independent processing of lesson

content. It's here that daylight can be used in a supportive and activating way to promote concentration and increase attention levels.

The 'Schmuttertal', where the school is located and after which it is named, is an ecologically significant meadow landscape near to Augsburg. Teachers and pupils moved into the secondary school in September 2015. The school is one of the largest woodframe buildings in Europe and the ‘‘most up-to-date school in German,” according to School Director Günter Manhardt. The new construction was subsidised by the German Environmental Agency (DBU).

In addition to the school, the sports hall was also equipped with a micro sun shielding louvre.

Rooflights allow natural light to enter the auditorium, relaxation areas and galleries of the Schmuttertal secondary school in Diedorf; the structure of the daylight system can be seen but still enables a free view to the outside. www.lightingsolutions.osram.com

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TECHNOLOGY

CREATIVE FREEDOM Making significant savings in maintenance costs, Tridonic's LED TALEXXpanel P581 provides the display cabinets at Cadenzza's Dusseldorf store with uniform light.

Tridonic has supplied LED modules for display cabinets at Cadenzza - the multibrand jewellery store in Dusseldorf, Germany. Since 2012, the Cadenzza brand has offered luxury hand-picked jewellery from world-famous names and emerging fashion designers – a collection that has been put together with a keen eye on the latest trends and which ranges in style from understated elegance to edgy eye-catching fashion statements.

Cadenzza, part of the Swarovski Group, has plans to create an international sales network by 2020, and has stores throughout Europe and in the Middle East and Asia.

The new store concept was created by Hamburg architects Anders+Grabmeister and features central and wall-mounted displays with elegant white and brown tones as the unifying colour scheme. The highlight is the luxury fashion brand wall where items from the brands are displayed with backlit logos.

Cadenzza’s latest campaign incorporates light boxes with photos and despite their large dimensions, have a low profile depth of only 45mm for the door visual and 70mm for the cash desk visual, the displays can be integrated perfectly in the store concept.

The smaller model is recessed in one of the presentation cases, whereas the larger one is designed as a wall panel.

Special lighting was required in order to provide uniform backlighting over such large areas from such a short distance. “We opted for the TALEXXpanel P581 from Tridonic because even at a mounting depth of 30mm it ensures homogeneous illumination,’’ explained light box manufacturer and designer Georg Klingler from lightcom based in Ampass, Austria.

Adaptable to any format,Tridonic’s TALEXXpanel P581 is a cleverly designed product comprising 25 LED modules as a chain ideal for configuring, installing and operating backlighting systems. Distribution

of the modules across the surface is really simple because they are connected by flexible cable. This six-cm-long cabling can be detached after any module, as required.

If the space available is particularly tight, the side sections of the modules can be removed. These options give designers a level of freedom that was unthinkable before LED technology. This new technology offers a number of additional advantages.

Operating the LED modules on 24V provides a high level of safety, power consumption is greatly reduced and lifetime is many times longer than for conventional solutions.

The LED light from the TALEXXpanel P581 benefits not only the creative shop designers, and therefore the exclusive interiors of the Cadenzza stores, but also the operators, who can make significant savings in operating and maintenance costs. www.tridonic.com

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TECHNOLOGY

COPENHAGEN COMFORTS

As lighting can have a big impact upon people who travel, LUG Light Factory has prepared a customised luminaire for a recently opened expansion of Copenhagen Airport's Pier C in Denmark.

Opened in 1925, Copenhagen Airport is one of the oldest international airports in Europe. Serving more than 25 million passengers a year, it is also the largest airport in the Nordic countries and the busiest airport for international travel in Scandinavia. With more than 62,000 people passing through its terminals every day, it goes without saying that providing comfortable conditions for passengers at the airport is an important task.

As lighting is one of the factors that have the biggest impact on the people present in a particular space, it is very important to choose solutions that can provide lighting of the highest quality. A perfect example of such a solution can be found in the recently opened 1,920sqm expansion of Copenhagen Airport’s Pier C, which features 255 TLON Light luminaires from LUG Light Factory’s high-end brand, FLASH DQ. “This decorative pendant luminaire, equipped with high-quality LED light

sources, brings out the unique character of modern infrastructural projects. At the same time, the luminaire is energy-efficient and offers impressive lighting parameters, making it an optimal choice for anyone looking for a solution combining the best in design and lighting technology,” said LUG’s Export and Marketing Director, Beata Tustanowska.

For the needs of this project, LUG prepared a customised version of TLON Light with an impressive diameter of 1,950mm. A total of 255 luminaires were supplied for this project, creating a breath-taking composition. To meet the technical requirements and assumptions of the lighting project, the lumen output was reduced to 4,000 and 4,500 lumens (from a standard output of 10,000 lm) so that the passengers at Copenhagen Airport can comfortably enjoy their time at the airport. www.lug.com.pl

Hall 4.1 Stand K28

Lighting control via smartphone or tablet.

Bluetooth low energy mesh network.

No additional gateways needed.

No electrical planning.

Supports iBeacons.

Lighting Control For The Modern World

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TECHNOLOGY

CUTTING-EDGE CONTROL

Making use of the existing wiring, Lumenpulse's Lumentalk technology has brought Seattle's St. James Cathedral up to speed with the latest in LED luminaires and digital control.

St. James Cathedral in Seattle, USA has used Lumenpulse’s innovative, patented Lumentalk technology to upgrade its exterior lighting system to flexible, high-performance LED luminaires with digital control. Lumentalk, a power line communication technology, uses existing electrical infrastructure as a bi-directional carrier for lighting control data, allowing the creation of networkable lighting systems, without the cost and disruption of having to re-wire for data.

“The St. James Cathedral is a landmark project that showcases the impact Lumentalk can have on older buildings and structures,” said François-Xavier Souvay, President and CEO of Lumenpulse.

“With Lumentalk, the Cathedral was able

to quickly modernise its lighting system, increase flexibility and eliminate future maintenance issues, while still keeping installation costs low. It’s a real digital control facilitator for structures like this,” he said.

Designed by Eluned Lighting, the new lighting system at St. James uses a range of Lumenpulse’s high-performance LED luminaires, including Lumenarea, the company’s new family of street and pole-top luminaires, wall-mount fixtures, bollards and light columns.

“Lumenpulse offers smooth, even light, efficacy, quality and variety, and with their luminaires we were able to achieve a cohesive, integrated design: I got an attractive pole and pendant

from Lumenarea; brilliant beams from Lumenbeam; and could run power and control over existing cables with Lumentalk,” said Linet Henry of Eluned Lighting. “It was invaluable to be able to use the existing wiring for cutting-edge control.”

Launched in 2012, Lumentalk has since been specified for a number of high-profile projects, bringing LED and digital control to the Blatnik Bridge in Minnesota; eliminating costly annual maintenance at the Buckley Recital Hall at Amherst College; and creating a connected lighting system with over 500 luminaires at the Next shop in Rugby, UK. www.lumenpulse.com

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TECHNOLOGY

Pic: Andrei Duman

GAN ON GAN GALLERY Illuminating differentiated space with no clear boundaries, Soraa's GaN on GaN LED technology brings out the colour and detail of award-winning photographer Andrei Duman's work at his new Los Angeles gallery.

Soraa has installed its LED lamps at the new Andrei Duman Gallery in the high end mall— Westfield Topanga outside Los Angeles, USA. For Duman, lighting his work in the gallery, which opened in Autumn 2015, was an important consideration - colours had to be rendered exactly. Light is a critical element in capturing images - and it’s critical to the accurate display of colour in art photography. In addition, the innovative design of the gallery required lighting that could be carefully controlled to accentuate the space and also be used to illuminate precise points on the artwork.

Duman and his lighting designer insisted upon Soraa LEDs to illuminate his intimate 1,500sqft gallery and the “display trees”, from which twelve double-sided images in glass frames hang and appear to float in the air.

“Great photography deserves great lighting.

Colours must pop and Soraa’s lamps are simply ideal,” said Andrei Duman. “With Soraa LEDs, I could bring out the true green and the detail that is important in my image The Ghost Door shot in a diamond mining town in Namibia. Lighting also sets the mood in the gallery and helps the customer connect to the image. I strongly recommend that my customers use Soraa LEDs to illuminate the images they choose.”

Soraa LED lights also help to create a mood that enhances the customer experience, allowing them to connect to the image; because of the light's beam and colour rendering.

Soraa’s GaN on GaN technology allows its LEDs to operate at currents that are more than five times higher than LEDs built on other materials. This means a lot of light comes from a very small source, resulting in a narrow beam that can be controlled

to crisply illuminate any area with a single shadow.

Duman’s images are illuminated for rendering of colours and whiteness because of Soraa’s Violet-Emission 3-Phosphor (VP3) LED technology. Utilising every colour in the rainbow, especially deep red emission, Soraa’s lamps render warm tones beautifully and accurately, and achieve a colourrendering index (CRI) of 95 and deep red (R9) rendering of 95. Unlike blue-based white LEDs without any violet emission, the company’s lamps have violet emissions to properly excite fluorescing brightening agents, including paper and natural objects like human eyes and teeth. www.soraa.com

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TECHNOLOGY

David Morgan looks at the Casambi app for smartphones and tablets that allows wireless lighting control while simultaneously integrating regular wall switches and sensors for dimming and scene control within the network.

BLUETOOTH THINKING

When a couple of former Nokia software veterans develop and launch an innovative lighting control system based on Bluetooth Low Energy technology, then the lighting industry is definitely moving towards a more connected, digital future.

Casambi was founded in summer 2011 by Timo Pakkala, CEO, and Jani Lehtimäki, CTO, with the belief that smartphone and wireless technologies can fundamentally change how we use everyday objects around us.

Casambi incorporates the Bluetooth Low Energy protocol, which is the wireless system originally developed by Nokia, and used in smartphones and other devices.

Casambi was the first company to start to develop a wireless lighting control solution using this technology and therefore makes a good case for being ahead of the competition.

In addition to the Bluetooth Low Energy system, Casambi has developed a proprietary mesh network where all the intelligence of the system is replicated in every node creating a system with, they claim, no points of failure. Apparently a self-healing and self-organising wireless

mesh network of this type can control a large number of fixtures from any point.

According to Casambi, their system is more reliable than existing Zigbee or WiFi based lighting control systems since it has no single point of failure and changes frequency regularly to avoid interference.

An internet gateway will be introduced soon so that the Casambi system can be integrated into a larger building control system and also controlled from much greater distances. An internet browser will also enable Windows devices to work with Casambi.

The system was launched at Light +Building in Frankfurt in 2014 and so far around 150 companies in the European lighting market including luminaire, driver and LED lamp manufacturers have implemented Casambi technology. A version of the system for the US market will be available soon.

The Casambi system was originally intended for the consumer market. However there has been a great deal of interest from the professional sector so the focus of development has been adjusted towards fitting larger projects and commercial buildings.

The current Casambi range consists of a series of modules to be used with, or built into, existing luminaires and a board level device for OEM use. The Casambi system can also be integrated into custom LED driver circuits to minimise size and cost.

A free downloadable app is loaded onto a smartphone or device to control the various modules wirelessly.

The 1 – 10V and DALI interface module is remarkably small and looks as though it could easily be fitted into most existing luminaires giving wireless control of 1 – 10V or DALI drivers.

An even smaller size module can be connected to existing lighting installations either at the lighting wall switch end or inside the luminaire. This module allows trailing edge dimmable lamps (LED and CFL) and luminaires up to 50W to be controlled either via the Casambi App or by flicking the wall switch a number of times. Apparently this module does not work with old magnetic LV transformers or incandescent lamps although high voltage halogen lamps up to 150W are shown as being compatible with this module.

Based on an initial test the free Casambi

237

CBU-TED is a Casambi enabled trailing edge dimmer for dimmable mains voltage powered loads. It can be installed behind traditional wall switches, into the casing or the ceiling connection of a luminaire and automatically forms a wireless mesh network (with Bluetooth Low Energy) with other Casambi products.

App seems to be fairly easy to set up but this process could be quite time-consuming for some projects. The system found and linked to the various luminaires I had prepared without any problems. Each luminaire can be named and associated with a photograph taken with the smartphone.

Up to four dimming / control levels can be set for each luminaire for use with a wall switch control. The luminaires can then be grouped and added to scenes containing up to 127 Casambi devices in each scene with a maximum number of 255 different scenes. Each Casambi linked luminaire can be controlled for dimming, colour or colour temperature for dynamic white luminaires.

Dimming control is via a screen swipe along one axis and colour hue in the other axis.

For colour control of RGBW luminaires a colour wheel pops up and colours can be set and stored. Using an animation function the scenes can be programmed to change over time giving control over many variables including dimming, dimming time, colour and colour temperature.

One of the more appealing aspects of the Casambi App is the gallery feature. This enables a photograph of a space containing

the various luminaires to be taken and the luminaires dragged into position. The various luminaires within the scene can all be controlled via this photograph which once set up is quite intuitive.

The range of the system is stated to be up to 40 metres in internal spaces. Thick concrete walls will diminish the range but every Casambi module in the mesh network acts also as a repeater so longer distances are achieved by using multiple Casambi units. Since this is a radio system it depends on the luminaire enclosure being transparent to radio waves. If the Casambi modules are enclosed in an earthed metallic luminaire then an additional aerial might be required.

At the moment controlling the Casambi system is achieved via a smartphone, tablet, Apple Watch or other similar device while in range or with a wall switch with it’s rather clunky click interface if the smartphone is not available. I am not sure that this is an ideal approach and the best lighting control interface, when entering a room, is still probably a wall plate with a number of labelled buttons for pre-set dimming scenes along the lines of the iconic

Lutron Graphik Eye. The wireless lighting control market is becoming quite crowded with both existing companies and new entrants developing interesting systems. The easy to use App, miniature size of the modules and the possibility of integrating the technology with driver circuits gives Casambi some great advantages but additional elements of the system will be required to ensure the widest adoption by specifiers and users. I will definitely be investigating in more detail how to use Casambi in our new luminaire developments. www.casambi.com David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting.

Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk Tel: +44 ( 0) 20 8340 4009 Š David Morgan Associates 2015

NEW THIS YEAR SAN DIEGO, CA USA

San Diego Convention Center PRE-CONFERENCE

April 24 – 25, 2016

TRADE SHOW & CONFERENCE

April 26 – 28, 2016

LIGHTFAIR.COM

LIGHT AND TECHNOLOGY IN A NEW LANGUAGE.

PHOTO CREDITS ZHENHAI CULTURE & ART CENTER, NINGBO, ZHEJIANG, CHINA | LIGHTING DESIGN: NINGBO YONGQI LIGHTING CO LTD | PHOTOGRAPHY © XING KAIQUN

TECHNOLOGY

LIGHT + BUILDING PRODUCT PREVIEW

Light + Building is back again. As the event is always jam-packed full of major product launches, we have put together a taste of what’s to come at Messe Frankfurt.

Last time Light + Building graced the Messe

up extra copies and share your latest news with

Lounge and an art installation from light artist

Frankfurt, some 210,000 visitors attended.

a member of the team.

in residence Liz West.

With the next show fast approaching, we have

In addition, there is an abundance of extra

Beyond the exhibition ground, the biennial

put together a comprehensive preview of the

talks, conferences and workshops to explore,

Luminale light festival will once again take

product launches to help beat the crowds.

including the IALD Lighting Perspectives on 14

place across Frankfurt, which, working in

More important, however, is the mondo*arc

and 15 March at Aspekt Room, Hall 3 Westside,

tandem with Light + Building, always proves

stand, located on the busy foyer walkway

Level C - a one-track conference offering

popular with visitors.

outside hall 4.1, where you’ll be able to pick

two-days of free seminars plus the Designers

www.light-building.messefrankfurt.com

HALL 4.1 FOY16

Power FLEX EX Series Luci Lighting Technology High efficiency flexible strip lights of LFPEX15:1400lm/m,15mm pitch,18.2W/m and LFPEX20:1000lm/ m,20mm pitch,12.1W/m have been released as the Power FLEX EX series.

The strip lights are available in colour temperatures of 1,900K, 2,100K, 2,400K, 2,700K, 3,000K, 3,500K and 4,200K, providing 3step MacAdam ellipse, Ra83. It can be installed without an aluminum heat sink mounting rail.

These luminaires are suitable for ceiling coves and shelf lighting of shopping malls, retail stores, office and hotel. www.luci-lighting.com

alphabet zono WILA Alphabet zono by WILA offers a family of high-output LED downlights - both round and square - designed to set new standards in the downlight segment. Thanks to numerous versions and special designs, such as insectproof designs or those with 49mm recessed depth, this product line copes with most building challenges.

System efficiencies of up to 142Llm/W result in energy savings and short payback periods. www.wila.com

Target Platek Target is a new generation floodlight and the result of collaboration between the eclectic and experimental Architect Marco Acerbis and Italian company Platek. Engineered with LED technology, Target is a harmonious blend between user friendly and aesthetic smartness. It may seem fixed, but it is not: a mechanical articulation between the two main components forming the floodlight allows the freedom of movement on the three axis, thereby giving a powerful beam of light in any position. www.platek.eu

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TECHNOLOGY

1616 XNOVA Cube Luminus Luminus introduces the 1616 XNOVA Cube, an innovative 1W LED with a 170° viewing angle, which improves system efficacy, reduces cost, and simplifies optical design in panel lights and omnidirectional bulbs. Unlike traditional mid-power LEDs, which were originally designed for LCD backlighting, the XNOVA cube is engineered specifically for illumination applications with high quality of light, one of the widest viewing angles, and a compact 1.6 by 1.6mm SMD package. www.luminus.com

AVVENI Sattler The AVVENI is a modular lighting system that easily adapts in every layout plan and architectural situation. This setup allows the lighting fixture to be anything between a single spot and a complex pendant structure with multiple lighting heads. These heads rotate around all axes by means of an innovative magnetic hinge system.

Furthermore, the floor, table, ceiling, and pendant versions come in two different styles: flood and spot light. www.sattler-lighting.com

ZipWave LED 707 Vode Lighting With outputs available over 1,000 lm/ft (3280 lm/m), the ZipWave LED 707 provides seamless light quality optimised for ceiling and wall cove, and is compatible with Armstrong AXIOM Indirect Light Coves for ceiling-toceiling and ceiling-to-wall systems. Its integral power housing drops into place with plug & play connections, providing quick and simple installation. The cove’s architectural keyway means accurate alignment and light distribution, every time. www.vode.com

KRONOS Unilamp

Dyna Drum SO Acclaim Lighting Dyna Drum SO is a high-output, compact outdoor LED flood fixture for large scale façade lighting, as well as area flood lighting. It features a DMX-512 control system, with IP66-rated AC power cable and bare wire ends to perform in wet locations. The unit has a 100-277-volt AC power cable and only consumes 120W, which replaces traditional outdoor 400W discharge fixtures. It is available in 2,700K, 3,000K, 3,500K, 4,000K, RGB, RGBW, RGBA, and Quad White. www.acclaimlighting.com

A new family of area and flood lights in various mounting application, KRONOS utilises the latest LED technology from OSRAM, providing 138lm/W and a high CRI with power classes from 87W to 275W. The heat management has been delicately designed and tested

Flap Arkoslight An LED wall washer that stands out for its simple geometry and pure lines, Flap is suitable for group compositions where it’s essential design harmoniously fits in with both rational and random settings. Formally designed as a sectioned disk, it stands out for its flatness and thinness. Compact and minimum volume, it delivers perfectly homogeneous light dispersion. Awarded the IF Product Design 2016 and the Design Plus Award 2016, Flap will be shown at Light+Building in the Design Plus awarded products area. www.arkoslight.com

under the ambient thermal condition of 40°C. KRONOS offers various light distribution patterns, including: road optic for European and Asian regulations, asymmetric forward throw as well as narrow, medium, wide and elliptical beams for flood lighting application. www.unilamp.co.th

RANGE

www.dialux.com

To see the full range find us at booth:

4000K CRI 95 100 GAI LED Chip

Rio Hall 10.1 A59 13-18 March 2016 Frankfurt am Main

Part of the Emcoled Rio Range

5

OUR CLARITY, QUALITY, PURITY & PRECISION ENABLES YOUR PRODUCTS TO BE SEEN IN A BETTER LIGHT Our LED Chip

YEAR

WARRANTY

Standard LED Chip

4000K CRI 95 100GAI

4000K CRI 80 90GAI Sole UK Distributor

We offer a comprehensive range of lighting for all retail uses.

Contact us for a catalogue or to arrange for a representative to visit Emcogroup Ltd, Emco House, Units 8-10, Marshgate Drive, Hertford, Herts, SG137JY, UK

01992 582033 sales5@emcogroup.co.uk www.emcogroup.co.uk

CELEBRATING

YEARS

242

TECHNOLOGY

3D LED Flex 100 Z3 Radiant The Radiant 3D LED Flex 100 system has been developed to incorporate the latest generation of Xicato LED modules. Ensuring excellent colour consistency between LED arrays and high colour point stability over time, this system combines mechanical flexibility in three dimensions with the Xicato remote phosphor technology. Several versions will be presented at the show, including wide beam indirect and reflector types for accent lighting and wall grazing. www.radiantlights.co.uk

Ride Molto Luce With a cross section of 35 x 35mm Ride is one of the slimmest linear LED-profile systems available. An all-purpose and wide-ranging lighting solution made of extruded aluminium with anodised finish as well as white and black powder coated finish. The integrated mini-converter means Ride secures a continuous light emission up to 15m.

Additionally the junctions facilitate an allover light distribution. Equipped with high colour rendering LEDs it is available as a wall / ceiling, recessed or pendant luminaire, and single or system luminaire. www.moltoluce.com

Ekleipsis Cariboni Ekleipsis is an indirect light luminaire for ceiling, surface, recess, bollard and pole installation. Available in three different sizes, it is a complete indoor and outdoor lighting system, equipped with high efficiency and long-lasting LED light sources.

Available in the following colours: white RAL 9003, grey RAL 9006 and Sablé 100 Noir, the soft light’s simple geometry can easily adapt to spaces characterised by elegance and purity. www.caribonigroup.com

D900 S Curve Brightgreen DLADL LED System dedolight Originally developed by Dedo Weigert for digital and film, the DLADL LED fittings are ideal for museum, gallery and heritage applications to illuminate all objects with unparalleled precision. They offer wide spectrum light from tungsten to daylight with perfect colour rendition and an evenness with no centre hotspots fall or off at the edges. The DLADL system can produce an infinite variety of shapes with every edging gradation from soft focus to laser sharp edging. www.dlad.de

Until now, specifiers had to choose between bulky surface-mounted lighting that maintained insulation, or less obtrusive recessed downlights that sacrificed home thermal efficiency.

Now offering the best of both worlds, the D900 S Curve is the slimmest, high-output, surface-mounted downlight of its kind. Available in black and white finishes, the design features a simple twist-lock luminaire replacement system, making it easy to swap in a new fitting when the long-life LED eventually expires. Like all Brightgreen products, the D900 S Curve has been optimised for compatibility with the vast majority of dimmers and automation technologies. www.brightgreen.com

Hydrocity LED PUK Italia Debuting at Light+Building 2016, Hydrocity LED is a pole-top round fixture that will be available in two main versions: Hydrocity 01 with single arm, cycle-pedestrian or street optics and Hydrocity 02 with double arm and a rotosymmetric optic. Available from 18W up to 72W, the range features a high-power LED chip by CREE. Its main application areas are public parks, parking lots, city squares, pedestrian paths, sidewalks and low-traffic roads. www.puk.it

bridgelux.com twitter.com/bridgelux facebook.com/bridgelux

Spectacular light quality.

Designer-grade beauty, high performance, and reliability.

Extensive range of white point and color temperature selections.

Vero ® Series

Décor Series ™

H Series ™

CCT range

2700-6500K

1750-5600K

2700-4000K

Lumen output range R 9 range

511-19,750

370-15,462

620-12,500

0-60

65-98

13-85

VISIT US IN HALL 6.2, STAND C20

All photographs are courtesy of Martini Light and show the application of their fixtures with Bridgelux LED arrays.

Bridgelux 101 Portola Avenue Livermore, CA 94551, USA +1 925 583 8400

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TECHNOLOGY

TILE Cooledge Cooledge introduces its new ceiling, wall, display and perimeter range of products that allow designers to imagine and make large area luminous surfaces. The flexible, modular LED system is a snap to assemble and can be shaped, trimmed and scaled to conform to virtual any corner, curve or architectural plane. Whether in hospitality, retail, office or entertainment spaces, light can be integrated with the architecture. www.cooledgelighting.com

Punto Family Heper Punto product family uses Heper’s latest HYBRID technology, a specially designed optical system that combines the reflector with an additional lens and provides several advantages compared to the classic approach. With HYBRID, users can have absolute control over light beam, perfect glare control and high efficiency, all combined in one system. The Punto product family has a lumen package starting from 410lm up to 3500lm with CCT options as 3,000K, 4,000K or RGB White. www.heper.eu

Quintessence ERCO

STICK-CU4 Nicolaudie

With ever-increasing production skills and capabilities, the photometric, mechanical and electrical features of Quintessence downlights have been further enhanced for a multitude of lighting tasks. Large luminaire spacing, excellent glare control with uniform ambient lighting, efficient LED technology and a great dimming range make Quintessence the all-round star among the ERCO recessed luminaires. As a surface-mounted version, Quintessence becomes an aesthetic architectural feature with the photometric properties of a downlight. Designed as a pendant luminaire, the height of the light source can be adjusted individually in relation to the architecture and its use. www.erco.com

The STICK-CU4 is a new 512-channel DMX lighting controller, designed around a touch sensitive colour wheel allowing for control of RGB and RGBW lighting in addition to brightness and colour temperature control. The controller is USB programmable from a PC or Mac using the ESA2 effect software. Up to 36 scenes can then be stored within the controller and directly recalled via six touch sensitive scene buttons. Aimed at architectural lighting installations requiring an advanced level of programming (colour changing effects, specific colours etc).

The controller has been engineered to meet the needs of lighting designers, whilst providing a user-friendly panel. www.nicolaudie.com

Splitter DMX-RDM Dalcnet A four-channel device for Din-rail installation that allows for the receiving and regeneration of a DMX or DMX+RDM signal to split it to other connected devices. Each channel input and output is electrically isolated. Each channel has an independent driver line to split the DMX-RDM signal. With this product users can avoid signal repeating problems in big installations.

One device for a simple solution, to regenerate the DMX and RDM signal. www.dalcnet.com/en

STX2.50 Mike Stoane This surface mount fitting uses 9mm LES Xicato XIM and XTM modules, making it possible to achieve similar beams (18Âş - 40Âş) and outputs to previous Xicato based fittings in a much smaller package. STX2.50 takes two accessories, is fully lockable and available with an integral driver. There are options for high quality deep, smooth and flicker free dimming and all Xicato module varieties. In XIM format, as well as 1-10V or DALI, Bluetooth control will be possible. By combining the elements, STX2.50 packs a lot of technical features and capabilities with the highest quality components into a small package. www.mikestoanelighting.com

Stormbell Lamp Lighting Design by artec3 Studio, Stormbell was born as the worthy successor of the most representative Lamp Lighting bell. A tribute to good design, with a more decorative inspiration, in which the interaction between lighting typologies and accessories allow the user to create different environments and convert this bell into a must for hospitality and retail. www.lamp.es

freeDim Helvar A new, easy to install and intuitive luminaire based wireless lighting control solution from Helvar. freeDim is suited to commercial office and meeting room applications, providing a fresh, completely personalised and intelligent approach to lighting control. Users can create their preferred lighting scene for a designated space, which is automatically saved and wirelessly activated by their presence using a mobile app. The freeDim solution detects the presence of a Bluetooth enabled Apple or Android device, activating the user’s personal lighting preferences. www.helvar.co.uk

SUPERSYSTEM outdoor Zumtobel SUPERSYSTEM outdoor is a compact luminaire specifically for pathway lighting. The optics, inclination angle and aperture angle of the LED tubes are ideal for illuminating narrow paths and lanes. There are three versions with 12, 18 or 30 LED tubes for mounting to the façade and to 4.5m or 6m masts. All are IP66 rated. Colour temperature is 3000K (warm white), with the option of 4000K (neutral white). www.zumtobel.com

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TECHNOLOGY

VIMA Halla VIMA is a professional LED projector characterised by its flatness, made possible by the integration of state-ofthe-art LED components. The design is the result of an innovative lay-out in which the LEDs, the heatsink and the driver are arranged asymmetrically on the same level. This adjustable spotlight is made of milled extruded aluminium profile and contains three latest generation COB LEDs for a more efficient thermal management compared with an equally performant single LED. www.halla.eu

ready2mains Tridonic ready2mains technology from Tridonic enables data to be transmitted in digital form via the existing mains. Dimming commands can therefore be easily transmitted and executed without the need for expensive rewiring. With ready2mains all that is required is to remove the existing conventional luminaires and install new dimmable LED luminaires. The associated Drivers must be equipped with ready2mains functionality. This digital interface is already integrated in all LED Drivers in the TALEXXdriver EXCITE and PREMIUM series. www.tridonic.com

LGS 1000 Instrument Systems The LGS 1000 goniophotometer system guarantees precise determination of the spatial radiation characteristics of SSL products, lamps and luminaires.

Additionally, energy efficiency can be evaluated accordant to the European Ecodesign Directive for energy-related products. The newly developed burning position correction, presented at Light + Building permits cost-efficient measurement of all photometric quantities of the DUT in a luminaire orientation other than the designed burning position, in conformance with the latest international standard CIE S 025 and EN 13032-4. www.instrumentsystems.com

TECOH Megaman Megaman will showcase its full range of TECOH light engines and modules at Light + Building this year. Available in a range of shapes, sizes and lumen packages the TECOH socketable and non-socketable solutions, with either integrated or non-integrated electronic drivers, can be used to create high quality light for any hospitality or commercial application. Also on show will be the Rich Colour series of high CRI (Ra95) lamps, brand new Hybrid reflector technology, the upgraded INGENIUM BLU and new INGENIUM ZB smart lighting solutions, as well as its Universal Dimming range. www.megamanlighting.com

Pyng Crestron Crestron, creator of advanced home automation solutions, will be showcasing its Pyng technology at Light + Building alongside its new Home Elements Toolkit. Pyng offers simple configuration of a client’s home environment, directly from an iPad or iPhone. The homeowner can then instantly modify lifestyle scenes for any room, at any time and within minutes, using the Pyng app.

Programming a new home is streamlined by pairing Crestron Pyng accessories with the technology, including Crestron wireless lighting controls, distributed audio, thermostats, as well as security systems. www.crestron.com

ColorCORE Engine Lumino The ColorCORE Engine from Lumino provides lighting designers with a new light source for creating dramatic contrasts or subtle accents. Clean, pure optical beams with high colour rendering in 12° spot, 24° medium and 38° flood are matched with correlated colour temperatures from very warm white 2,400K through to cool white 4,500K. All versions are dimmable down to 1% with smooth, flicker-free dimming control. In a compact MR16 50mm diameter, the engine produces up to 900lm at up to 12W. The heatsink design is engineered for efficient thermal management whether mounted straight down or a directed tilt angle. www.lumino.lighting

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5533-Soulary LEC-Lyon The 5533-Soulary LED linear projector is suited to light alleys and offers uniform lighting thanks to its bespoke cable hanging system. Equipped with six high-technology LEDs in 1W or 3W, it combines powerful lighting along with compact dimensions and can be easily integrated within its urban environment. The 5533-Soulary offers a wide choice of colours, is dimmable and can be controlled by a remote DMX system. Although the LED linear is hung, its luminous flux is controlled to perfection thanks to numerous optics available and parallel rotating axis to the hanging cable (+/- 10°). The linear is made in anodised aluminium and stainless steel. www.lec-lyon.com

PowerLug LED LUG PowerLug LED, winner of this year’s iF Design Award, is a modern floodlight designed to illuminate architectural objects and open as well as closed spaces such as sports facilities or car parks.

The use of dedicated optics systems and lighting control systems allows for adjusting the product to the needs of particular applications. The luminaire features high technical parameters, convenient mounting and servicing, exceptional aerodynamics and award-winning design. www.lug.com.pl

Fraxion Lucifer Lighting Fraxion is one of the shallowest family of high performance downlights in the industry and possibly the only wet location downlights identical to their dry location model. Fraxion’s elegant profile is available in true Trimless and MicroFlange. Advanced hot-aim adjustment mechanisms are concealed with no visible fasteners, featuring a unique sliding pivot point that optimises centre beam optics. Proprietary optics in 13°, 25°, 40° and 60° beams.

Fully dimmable LED source 700LM/7W to 3,000LM/35W, in 2,700K to 4,000K. Standard 90+ CRI and 97+ CRI. www.luciferlighting.com

MARS LED Linear

Nebula LED Arena Luci Nebula LED is a stylish track spotlight, available with three different beam apertures, 18°, 30° and 51°; the possibility of dimming with phase cut dimmer makes it versatile in any lighting situation.

Adjustable by 350° on the horizontal axis and by 330° on the vertical axis, it can illuminate any object enhancing the brightness. Ideal for lighting shop windows, shops, art galleries.

The body paint finish is in white as standard and on request it is also available in gray or black. www.arenaluci.com

Invisible design meets brightness and high light quality: MARS is a filigree linear recessed solution for general lighting, which scores with minimalist design language and maximum lighting and design effects. The optimum glare control through a black matte finish (black glare reduction) enables a UGR glare rating of UGR <13 and delivers high-quality and pleasant light. Especially user friendly is the easy, tool-free installation with mounting brackets.

The MARS is available as CC (constant current) or CV (constant voltage) variant and can be specified in a length of 2m in one piece. www.led-linear.com

Myia Linea Light Introducing a new way to highlight outdoor facades. Thanks to Myia’s triangular shape and silk-screened optic, its light beam starts from the corner of the building producing a 90º angle, illuminating both vertical and horizontal surfaces. A unique fixture for architectural lighting, it is able to ‘frame’ the surfaces of buildings with lighting effects that emphasise volumes. The special 90º emission has been designed to create balanced lighting serving both an aesthetic and functional purpose.

Myia is a new product of the I-LED Collection, a brand of Linea Light Group. www.linealight.com

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USEPARTOUT Castaldi Lighting

LED Player Version 1.5.4 Chromateq LED Player version 1.5.4 brings a new perspective to the architectural lighting industry. The DMX controller software allows professionals to handle lighting projects with ease thanks to intuitive design, featuring advanced release options, such as new time trigger possibilities and the creation of different scenarios each week, month or year. Among its latest features, Studio DMX enables powerful 3D simulations for both indoor and outdoor projects. www.chromateq.com

The simple construction of USEPARTOUT incorporates innovative SLED technology. The original concept was conceived from the intuition of Joerg Krewinkel, shaping the lines of contemporary architecture. White, black and bronze finishes transform USEPARTOUT into a desirable object, combining sophistication and style, seamlessly blending the essence and aesthetic vigour from the worlds of design, fashion and retail. www.castaldilighting.me.uk

Outdoor Ness Module Design LED Water resistance and enhanced homogeneity are the key features of the Outdoor Ness module. Protection against ingress of dust and moisture makes the optimised Ness IP67 adaptable to any installation. Due to its thin profile, it offers an ideal solution for uniform backlighting starting from 20mm. The flexible design inspires myriad of creative installs in almost any shape imaginable. www.designledproducts.com

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Darkway U030 Vice Lighting

Akro Luce&Light

Darkway U030 is a modern concept of linear downlight with square distribution. This luminaire is designed to host multiple reflectors of different beam angles, generating a flawless square distribution ideal for diverse general lighting applications. These specially-designed reflectors of complex microfaceted surfaces ensure an even colour mixing and ultimate visual comfort (glare free). Darkway U030 is available in configurable lengths with various opportunities for customisation to suit the geometry of any space. www.vicelighting.com

Akro is an LED projector, has a zoom lens for manually adjustable beam and is designed to house two optical filters.

The versatility of optical performance is now available for outdoor applications, as the projector is IP66 rated. Available in optical ranges 9°–34° and 18°–38°; various types of filters can be applied to shape and colour the light beam, and vary its colour temperature: elliptical, diffusion, dichroic and chromatic. The product also comes with anti-glare accessories: honeycomb louvre, barn doors and symmetrical/asymmetrical snoot. www.lucelight.it

Darc Pro acdc The Darc Pro, part of acdc’s new downlight series, is a deep recessed pinhole downlight with adjustable ‘Focus’ version to allow focus to be directed to where it needs to be fixed. The ‘Pinhole’ version ensures light doesn’t move over the project’s lifetime. It is small (79mm cut out) but powerful delivering more than 80 Llm/W. The fitting comes in fixed and adjustable versions with trim and trimless options. www.acdclighting.co.uk

ADVERTISERS INDEX A.A.G. Stucchi ....................................................217 A&O....................................................................203 Acclaim ...............................................................207 Aion LED ............................................................223 Alto ..................................................................43,45 Anolis ...............................................................10-11 Applelec .............................................................185 Architectural Area Lighting .................................259 Arena Luci .............................................................81 Arkos ....................................................................51 Artemide...............................................................39 ATEA Lighting.....................................................113 Aurora .................................................................119 BEGA ............................................................87, 254 Bridgelux ............................................................243 Bright Green .........................................................24 Cariboni ................................................................59 Casambi..............................................................231 Chromateq .........................................................245 CLS .......................................................................18 Concept Light .....................................................155 Crestron ..............................................................151 Dalcnet ...............................................................231 darc night ............................................................6-7 David Morgan Associates ...................................221 Design LED .........................................................250 Dial .....................................................................197 DPA.....................................................................254 EMCO Group .....................................................241 Jake Dyson Light ....................................................2 Electron ..............................................................217 Exenia ..................................................................8-9 Feelux .................................................................233 Filix .....................................................................203 Furukawa ............................................................249

GDS ......................................................................81 Griven ...................................................................27 Grupo MCI..........................................................207 Guangzhou Int’l Lighting Exhibition ...................253 GVA ....................................................................189 Hacel ...............................................................14-15 Halla ...................................................................177 Havells-Sylvania ....................................................99 Helvar .................................................................219 Heper..................................................................141 Huda Lighting .......................................................20 IALD ....................................................................225 Illumination Physics .........................................16-17 Insta ......................................................................23 Instrument Systems ............................................213 ISTL .....................................................................215 Kim Lighting ...........................................................3 KKDC ....................................................................79 L&L Luce&Light ..................................................165 Lamp Lighting.....................................................121 LEC Lyon.............................................................215 LED Linear ..........................................................260 LEDYi ..................................................................219 Lee Filters ............................................................69 LG .........................................................................49 Light+Building ....................................................213 Light Source Europe (LSE) ..................................209 Lightfair international .........................................238 Linea Light ..........................................................107 LITEtask .............................................................254 Lucent .................................................................127 Luci LED................................................................47 Lucifer ...................................................................29 LUG ...................................................................171 Lumenpulse ........................................................255

Lumino ................................................................103 Luminus ................................................................95 MBN .....................................................................22 Mike Stoane Lighting ...........................................73 Molto Luce .........................................................101 Neonlite .......................................................122-123 Nich Smith ..........................................................254 Nicolaudie ............................................................19 Occhio ................................................................255 OM Light ............................................................149 OPTOLED ...........................................................211 Osram Lighting Solutions .....................................33 P.U.K ...................................................................147 Precision lighting ...........................................31,129 Proliad ................................................................169 Prolicht................................................................133 Reggiani .............................................................111 Remote Controlled Lighting ............................12-13 Retail Design Expo .............................................205 Rethink The Night...............................................235 Rising Dragon Technology .................................247 Sattler .................................................................163 Seoul Semiconductor .........................................211 Signcomplex .......................................................227 StrongLED ..........................................................251 Studio Due ...........................................................25 Targetti .................................................................37 Teknolight .............................................................21 Trilux ....................................................................4-5 Unilamp ..............................................................229 Vice .....................................................................145 Wibre ..................................................................161 Wila ....................................................................175 Xicato ...................................................................89 Zumtobel ..............................................................67

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.

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NICH SMITH LIGHTING DESIGN The BEGA Group is an internationally respected, privately owned manufacturer of high quality outdoor and indoor luminaires. Its enviable product portfolio suits for lighting projects worldwide.

UK Office and Business Support Manager

Nich Smith Lighting Design is a small and constantly evolving lighting practice based in Glasgow, Scotland. Our work is multi-disciplinary lighting design across architecture, heritage, landscape, art and entertainment. Our award-winning projects require creative insight, excellent technical skills and high levels of self-motivation.

We are looking to fill the following roles for immediate start: Senior Lighting Designer - To deliver a variety of exciting high profile projects in the UK and internationally. The successful applicant will have worked at Project Designer level or above and be proficient in AutoCad, Photoshop and Dialux as a minimum. The ability to communicate lighting concepts and manage their implementation through to completion is expected.

Extensive knowledge of specifying and commissioning interior and exterior lighting and controls is essential.

Office: Currently based in Dorking, Surrey Reporting to: UK Managing Director

Lighting Designer - To join on fixed term contract for nine months. You must be proficient in AutoCad, Photoshop and preferably a 3D modelling package such as SketchUp. You will be responsible for generating project plans, elevations, details and schedules. Knowledge and experience of museum lighting is preferred. Your role will be constantly under review and may lead to a Project Lighting Designer position after the initial period.

Handling inquiries and providing quotation to customers and answering incoming calls. Dealing with correspondence, specifications and queries.

Regular follow-up on inbound leads and sales enquiries administration support to the UK Managing Director. Supporting the UK sales team by organizing data in our CRM system. Basic IT support for BEGA UK and international specifications from UK.

Please apply by email to info@nichsmith.co.uk including a CV showing illustrated examples of projects you have worked on which clearly outline your role and responsibilities, or designs you have dreamed of that showcase your skills. Pay will be commensurate to experience. Excellent written and spoken English is essential. Applicants must be eligible t0 work in the UK. All applications will be treated in strict confidentiality.

Income and benefits package to include: • Dependent on experience – excellent basic package + pension + health payment Job location: Dorking UK Office, Surrey Key Qualifications: • Good organisational skills • Excellent telephone and computer skills • Good understanding of technical product data ideally with a lighting, electrical, project and engineering background • Technical support knowledge needed – further training in Germany to be provided • Proficiency in Microsoft Office • Diplomacy and strength of character Please e-mail your application letter and CV to: hr@BEGA.com

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“Right Light, Right Place, Right Time” TM

LIGHTING DESIGNER We are an independent lighting design consultancy looking for a Lighting Designer to join our team in Leeds, West Yorkshire.

Candidates shall be proficient in computer packages such as AutoCAD, Adobe, Microsoft Office and either Relux or Dialux. You will require at least 2 years’ experience working in the UK in this or a similar role. Experience of Revit & 3DS Max desirable but not essential.

You should competent in running your own projects with excellent communication and project management skills. Our projects are based across the UK and travel on occasions will be required.

Candidates can apply by sending your CV and portfolio to

liteideas@litetask.co.uk

TITLE : REGIONAL SALES MANAGER | POSITION TYPE : PERMANENT | DEPARTMENT : SALES | LOCATION : LONDON AND MANCHESTER, UK Lumenpulse AlphaLED is a leading specification-grade LED lighting solutions manufacturer. With a long track record of high-profile projects around the world, the company has earned numerous awards and recognitions, including several Product Innovation Awards (PIA), three Next Generation Luminaires Design Awards, a Red Dot Product Design Award, a Lightfair Innovation Award, and the Queens Award for Enterprise and International Trade. In October 2015, Lumenpulse AlphaLED CEO Francois-Xavier Souvay was named the 2015 Ernst & Young Entrepreneur of the Year™ for Quebec. The company has 500 employees worldwide, with corporate headquarters in Montreal, Canada, and offices in Québec City, Boston, Paris, London and Manchester.

Benefits Package: Salary + attractive commission, car or allowance, private healthcare.

Why join the Lumen family?

• Creative and dynamic environment • Extensive opportunities for careers worldwide

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Entrepreneurial environment Innovation is in our DNA!

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Think Global Act Local Approach Continuous training provided to all employees

KEY RESPONSIBILITIES

QUALIFICATIONS & SKILLS REQUIRED

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•

• • • • • •

Proactively develop and secure the specification of Lumenpulse Alphaled within UK and international projects Promote Lumenpulse Alphaled products to targeted specifiers and others as required, ensuring first choice selection for projects and inclusion within specification documents Follow/track project throughout construction/building process to handover and commissioning as required Conduct product and application training sessions with targeted customers Evaluate, monitor and report sales and project activities within the territory Evaluate and report on competition activity within the territory Establish and maintain positive relationships with customers, suppliers and employees at all levels Manage special projects as requested by the Sales Director

• • • • • • • • • •

Lighting experience preferred in Specification Sales, others considered from lighting design or industry related roles A seasoned professional that can demonstrate experience within the lighting industry Strong organisational skills, and ability to manage multiple tasks Must be results-oriented Possess strong communication and negotiation skills Needs to be analytical Should have a capacity for innovation and creativity Demonstrates a sense of initiative and autonomy Embraces change Must combine strong interpersonal skills with drive and tenacity Available for travel as required

To apply please contact Nicola Livesey on email: nlivesey@lumenpulse.com

Occhio is one of the fastest growing companies in the lighting sector and is a market leader in intelligent, high quality design lighting. Today, Occhio offers a strong performing, technology and design driven product basket for the high specification end user market, and sets the standard in product design and innovation. Occhio UK is poised to enter a period of considerable and sustained sales growth.

To achive this target Occhio offers the opportunity to join the team as:

Occhio UK Sales Director This challenging role will provide the freedom to act and the opportunity to make a real difference. It will appeal to a commercially minded and dynamic sales leader who is keen to be involved in a successful company with huge potential.

The culture is energetic, entrepreneurial and highly results-driven.

Key Responsibilities › Manage and enhance the existing distributor network and continue to establish and develop long-term strategic partnerships within existing & new markets › Oversee the appointment of additional resellers in territories not already covered › Develop further relationships with Lighting Designers, Architects, and Interior Designers, to capitalise on opportunities for contract and project sales, particularly within the Retail, Hotel and High End Residential sectors

Requirements Candidates must demonstrate a solid track record with proven, verifiable experience of: › An enthusiastic, confident and self-motivated personality and the ability to quickly contribute to the Occhio culture and way of working › The ability to sell and develop a strong brand with unique technology and design › An ability to build strong, long-term strategic partnerships with key customers and distributors in all markets. › Excellent communication, presentation and interpersonal skills

If you believe you have the skills necessary to help Occhio UK achieve their goals we would like to hear from you …!

Please send your Cv to our retained recruitment Consultant Simon Neil at Maddison Consultants Ltd Email: director@maddisonconsultants.co.uk Or Tel: 01252 759007

EVENT CALENDAR

Guangzhou Intl Lighting Exhibition 9-12 June Guangzhou, China

darc night 15 September London, UK www.darcawards.com

London Design Festival 17-25 September London, UK www.londondesignfestival.com

LED Expo 19-22 April Bangkok, Thailand www.ledexpothailand.com

Lightfair international 24-25 April San Diego, USA www.lightfair.com

Myanmar Lighting 12-15 May Yangon, Myanmar www.myanmar-expo.com

INALIGHT Indonesia 18-20 May Jakarta, Indonesia www.inalight-exhibition.net

Index 23-26 May Dubai, UAE www.indexexhibition.com

Ecobuild 2016 8-10 March London, UK www.ecobuild.co.uk

Retail Design Expo 9-10 March London, UK www.retaildesignexpo.com

Light+Building 13-18 March Frankfurt, Germany www.light-building.messefrankfurt.com

LEDucation 29-30 March New York, USA www.leducation.org

LuxLive Middle East 13-14 April Abu Dhabi, UAE www.luxlive.ae

IALD Enlighten Europe 13-15 November Prague, Czech Republic www.iald.org

www.interlight-moscow.ru.messefrankfurt.com

Interlight Moscow 8-11 November Moscow, Russia

Light Middle East 31 October - 2 November Dubai, UAE www.lightme.net

IALD Enlighten Americas 13-15 October Puerto Vallarta, Jalisco, México www.iald.org

Rethink the Night!

10-14 October Kea Island, Greece www.rethinkthenight.com

Illuminotronica 6-8 October Padua, Italy www.illuminotronica.it

W WW. D A RC W A R DS. C O M

CELEBRATING THE BEST IN LIGHTING DESIGN

LpS 20-22 September Bregenz, Austria www.led-professional-symposium.com

InterLumi 6-8 July Panama www.inter-lumi.com

www.guangzhou-international-lighting-exhibition. hk.messefrankfurt.com

Smart Lighting 24-26 May Milan, Italy www.smartlighting.org

China Lighting Expo 14-16 April Beijing, China www.chinalightingexpo.com

Strategies in Light 1-3 March Las Vegas, USA www.strategiesinlight.com

INSPIRATIONS / #31 MORTIZ WALDERMEYER

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INSPIRATIONS / #35 MANDALA

CURATED BY

In this issue, the back page has been undertaken by Mandala, a multidisciplinary design studio based in Delhi and established in 2006 by Manav Bhargava. For those of you that don’t know, a ‘Mandala’ is a spiritual symbol that represents the universe. A fitting title for a studio who work with both artificial light and daylight and have a portfolio that encompasses Son et Lumieres and Light Art as well as architectural lighting.

It’s time to bring some Indian flavour to the back page…

www.aal.net/products/kick_medium_scale/