mondo*arc Jun/Jul 2016 - Issue 91 by Mondiale Media

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

#91 2016

BOLON EYEWEAR

CREATING A SPECTACLE THE VISION OF GERD PFARRÉ

issue 91 * June/July 2016

MECANOO PROFILE • THOMAS MIKA INTERVIEW • DARC AWARDS / ARCHITECTURAL LG DISPLAY OLED TEST BENCH • LIGHTFAIR INTERNATIONAL REVIEW

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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

[jun/jul] Front cover pic: Bolon Eyewear, Shanghai - Shuhe Architectural Photography

044 Thomas Mika Helen Fletcher speaks with Reflexion Founder and Switzerland’s ‘Light Keeper’ to find out how lighting design has progressed in the country.

DETAILS 022 Editorial Comment More darc awards /architectural announcements! 024 Headlines The latest architectural lighting industry news. 026 Eye Opener White Circle, Berlin, Germany 028 Drawing Board Our preview of proposed projects. 032 Spotlight A selection of brand new projects from around the world. 040 Briefing Lights in Alingsås’ Margaretha Stenmark explains this year’s theme. 042 Snapshot We feature RGE Lighting Design Group. 044 Lighting Interview Thomas Mika - ‘Light Keeper of Switzerland’ 054 Architect Profile We look at Dutch architects Mecanoo. 062 WSP Unity A look at how WSP Finland utilises gaming technology to aid lighting design. 178 Inspirations Aleksandra Stratimirovic

ART & DESIGN 124 Dark Source Stories The latest installment in Kerem Asfuroglu’s dark vision of light. 126 Collective Spirit We look at the enigma that is Light Collective. 130 One Stop Shop Flatland is an immersive installation of 2D and 3D LED sculptures coupled with live musical performances. 132 At the Touch of a Button This year’s Eurovision Song Contest received lighting effects that bathed Stockholm in vibrant hues of light. 134 The Viking and the Victorian musson+retallick’s collaborative approach breeds ideas that use art as a driving force in the way we design public spaces. 138 Virtual Interaction Maurici Ginés and artec3 Studio’s ‘Llumversació’ exhibits how it can break through materials to reveal a magical image, establishing a dialogue with the audience. 140 Close Encounter NARGIZA has created a performance piece that uses light, aliens and the power of colour to stress the importance of energy.

TECHNOLOGY 142 Case Studies A selection of innovative lighting projects from suppliers. 148 IALD Column The art of fee preparation - David Mintz, FIALD. 150 Geoff Archenhold Geoff Archenhold looks at the transition from traditional light to LED within the architectural lighting industry. 152 David Morgan David Morgan’s Test Bench focuses on LG Display’s OLED product range. 155 Lightfair Product Review A comprehensive guide to this year’s product launches. 161 IALD Awards All the winners from this year’s awards. 166 Red Dot Awards Architectural lighting highlights from Red Dot Awards. 170 New Products A selection of new releases. 176 Expo Diary Our calendar of worldwide tradeshows and events for the lighting industry.

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[jun/jul] 116 Online Trainworld in Brussels, Belgium lights its exhibits as though they were actors on a stage. www.mondoarc.com

Pic: Marie-Françoise Plissart

PROJECTS 068 Bolon Eyewear, Shanghai pfarré lighting design’s bespoke lighting scheme celebrates Bolon’s eyewear products in a way that creates a unique visual experience for the Shanghai store’s customers. 076

Pic: Florian Licht, Mohamed Medani

076 Box Park, Dubai Box Park Dubai’s many façades form a mosaic of colour created by Delta Lighting Solutions’ ever-changing, dynamic lighting scheme.

PROJECTS 084 Cikat Bay, Mali Losinj Skira provided sophisticated lighting design in order to produce atmopsheric surroundings that highlight the natural beauty of Čikat Bay.

094 Hannover Congress Centre, Hannover vogtpartner’s lighting scheme combines the adaptability of modern technology and the illusionary power of colour.

102 Virgin Active, London Hoare Lea Lighting’s scheme showcases the transformative power of the lighting designer at Virgin Active’s Walbrook Health Club in London.

PROJECTS 110 Studio City, Macau illumination Physics was chosen as sole lighting designer and supplier for the façade of the grand Studio City resort in Macau.

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Pic: Redshift

116 Trainworld, Brussels Lightemotion’s lighting scheme at the Train World railway museum utilises the height of the space and theatrical lighting techniques to tell a story of the locomotive.

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[editorial] Paul James, editor, writes: I’m delighted to announce that we have now completed the darc awards / architectural sponsorship line up of manufacturer and lighting designer partners who, under the guidance of Light Collective, will create the lighting installations during darc night, the darc awards ceremony, in London on September 15th. I want to thank all the progressive companies who have pledged their support to these innovative architectural lighting design awards. They are: Cooledge, Concord, KKDC, L&L Luce & Light, LSE Lighting, Lucifer Lighting, Reggiani, XAL, Osram Lighting Solutions, Radiant, Forma Lighting, Heper, GVA Lighting, Filix, Wila and John Cullen Lighting. PRG XL Video is the Technical Partner who will once again be helping to make darc night unlike any other lighting awards ceremony in the past. And Applelec will once again be making the incredible invites and trophies that made such an impact last year. You will notice that the sponsorship line up is very international and diverse, just like the awards itself and this magazine. We have continued this international profile with the cast of lighting design practices who are creating the installations this year. Each manufacturer partner is teaming up with a lighting design practice to create sixteen inspiration spaces at the specially selected darc night venue in London in September. The practices involved are: Speirs+Major, dpa lighting consultants, Michael Grubb Studio, Elektra, Nulty+, BDP, LDI, Licht Vision, Arup, Electrolight, Lighting Design Collective, GNI Projects, Into, Light IQ, ACT Lighting Design and MBLD. I thank all for your support and your belief in what we are doing with the world’s only democratic, peer-to-peer lighting design awards. By the way, there’s still time to get your entries in. Due to demand, we have created a new EVENT category to cater for the great creative lighting design and light art events (such as festivals of light, workshops and guerrilla lighting) that have happened in the last twelve months. Because of this we have extended the deadline for entries to June 17th so get entering and good luck! Helen Fletcher, deputy editor, writes: As Paul has mentioned, there’s still time to get your project and product entries in for this year’s darc awards / architectural - the earlier you enter the more exposure you’ll receive in the run up to the voting! With this in mind, the projects in this issue are dedicated to just some of the darc awards entries we have had so far, starting with our cover story Bolon Eyewear store. Utilising the properties of high-quality materials, pfarré lighting design’s bespoke lighting scheme celebrates Bolon’s eyewear products in a way that creates a unique visual experience for the Shanghai store’s customers, read more on page 68. Heading over to Macau and on page 110, we look at the striking façade lighting design at the Studio City resort by illumination Physics. We’ve also covered the beautiful Čikat Bay Resort in Croatia (page 84), which saw lighting design practice Skira work closely with the project’s investors to produce atmospheric surroundings that highlight its natural beauty; Trainworld in Brussels on page 116, which combines the magic of history with the robustness of industrial design and through Lightemotion’s lighting scheme utilises the height of the space and theatrical lighting techniques to tell a story of the locomotive; and Virgin Active’s Walbrook Health Club in London on page 102, which saw Hoare Lea Lighting take a hands-on approach alongside architects Atelierdb. We will continue to showcase darc awards entries in our September / October issue so make sure you get your entries in for the chance of being featured in the magazine!

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mondo*arc, ISSN 17535875, is published bi-monthly by Mondiale Publishing, Waterloo Place, Watson Square, Stockport, Cheshire, SK1 3AZ. Subscription records are maintained at Waterloo Place, Watson Square, Stockport, Cheshire, SK1 3AZ. Spatial Ltd is acting as our mailing agent.

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news headlines

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

Amerlux appoints John Mamo as VP of Global Sales

darc awards new category added

(USA) – Previously VP of National accounts, John Mamo brings years of experience to collaborate with lighting designers, architects and end-users while leveraging company’s product development.

(UK) – Best Creative Lighting Event category added for temporary events or installations where main medium of expression is light. www.darcawards.com/architectural 1

Read the full story online...

ILP announces CPD programme for #ILPSummit2016 (UK) – Boasting array of conference sessions and workshops, annual Professional Lighting Summit will visit Jurys Inn Waterfront Hotel, Brighton on 15 and 16 June 2016. Read the full story online... 2

iGuzzini opens Lyon office (France) – Joining 25-year-old Paris subsidiary, iGuzzini’s Lyon office offers place for meetings, networking and training dedicated to lighting community. Read the full story online...

Report finds ‘human factor’ important in LED use

Lamp Lighting opens Australia office

(UK) – Commissioned by Society of Light and Lighting, Public Health England report provides data on positive and negative effects of exposure to light from LED light sources. Read the full story online...

(Australia) – New subsidiary looks to provide better service to Australian clients and be in touch with needs of the market. Read the full story online... 6

Available Light announces new associate (USA) – Previously lighting designer at Atelier Ten, Catherine Leskowat brings design focus on integration of daylight to Salem MA studio. Read the full story online... In pictures

the latest news online

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1 Last year’s inaugural darc awards. 2 Pete Lummis PLS 2014, Solihull. 3 John Mamo. 4 The Blaenavon Balance Tower, Wales lit by LED. 5 iGuzzini’s Lyon office opening.

6 Michael Losciuto, Sales Manager and Joe Lee, Sales Executive. 7 Catherine Leskowat.

precisionlighting.co.uk

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eye opener White Circle, Berlin, Germany Earlier this year, the artistic platform raster-noton presented White Circle - an acoustic, architectonic space, designed as an audio-visual installation, on the occasion of its 20th anniversary in conjunction with the ZKM Center for Art and Media Karlsruhe. Four of the label’s artists were invited to develop an exclusive audio-visual composition: alva noto, byetone, Frank Bretschneider and Kangding Ray. Each composition presented an independent, self-contained concept of the artist in question. All works were multi-channel compositions - a music which aims to make acoustical space and visual stimulus directly tangible. Throughout 2016/2017, White Circle can be heard and seen at different places in the world. In April, the installation visisted Halle Am Berghain in Berlin. www.raster-noton.net Pic: Béla Bender

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

Pic: Courtesy of Manuelle Gautrand Architecture

DESIGN CONSORTIUM Manuelle Gautrand Architecture, DesignInc and Lacoste+Stevenson are the winning architecture group of the international competition for the construction of the Parramatta Square’s Landmark civic and community building in Parramatta, Australia. This international design award was launched by the Parramatta City Council, whose ambition was: “We want this development to be unique and spectacular – a building that will be recognised around the world and help to put Parramatta on the map.” A cutting-edge glass construction, featuring a wave-shaped facade of crystalline blocks has been selected as the winning design for Parramatta Square’s landmark civic and community building. The eye-catching design encapsulates and extends above the historic Town Hall with a cantilevered structure providing a platform

for the Council Chambers. Core to the building design is a stack of transparent glass that gradually rises to the north-east with a large LED screen for the public art projections, developed in-house at Manuelle Gautrand. Built into the entire lower levels of the southern façade will be an LED screen for multimedia projections, which will be able to display images such as public art and event programs. The upper levels of the southern façade will also be able to be used for projections of public art. In announcing its decision the jury said: “The winning scheme is an exemplary architectural masterpiece that delivers a 21st century solution within Parramatta City Council’s modern smart-city metropolis.” The building will accommodate various spaces including a library, a Smart City Command Center, community meeting rooms, a community technology hub, an

Innovation space, a visitor experience centre, Council chambers, Council customer services, Councilor offices, and common facilities. The AUD$50m project will cover sixstoreys with a gross floor area (GFA) of approximately 12,000sqm. The ‘5 Parramatta Square’ building will take place in the heart of the city, within the important Parramatta Square Urban Development, a AUD$2bn (€1.5bn) project. The concept designs will undergo detailed analysis before a Development Application is lodged, which is expected to be by the end of 2016. The designs will be placed on public exhibition as part of the Development Application process and the building is expected to be delivered in 2020. www.manuelle-gautrand.com www.designinc.com.au www.l-s.com.au

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[drawing board]

Pics: P49 Deesign/Elektra

LIGHT SHIFT Anantara 1000 Island is a resort project in Hangzhou, China by architects GKA (Grounds Kent Architects) and UAD â&#x20AC;&#x201C; The Architectural Design & Research Institute Of ZheJiang University. The Anantara philosophy is that life is a journey, and they take joy in helping guests find inspiration in the authentic luxuries of each destination. Designed by P49 Deesign & Associates Co.,

the interiors include elegant dark finishes, wooden and stone textures, traditional oriental features, and artwork accentuated by lighting to create a welcoming, cosy atmosphere and to create a sense of calm. In a great effort to maximise lighting efficiency and provide exceptional atmosphere for the Anantara 1000 Island visitors, UK-based consultancy Elektra Lighting has developed the lighting design

around the idea of daylight naturally changing during the day. To mimic this process it has proposed using tunable lighting fixtures with different colour temperatures of white light. Another element of this idea is shifting the lighting from high level to low level throughout the day. www.elektralighting.co.uk

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

Pics: Courtesy of Aphidoidea

CALIFORNIA DREAMIN’ Commissioned by Goldenvoice for Coachella Valley Music and Art Festival as an honouring tribute to time and colour, Chrono Chromatic is a monumental temporary art sculpture from multidisciplinary design, architecture, and art collective Aphidoidea that celebrates the festival’s broad spectrum of music and artists, as they engrave their moment in time.

Ranging in size and 72 different colours, these pillars were arranged in two tangent circles, intertwining at the centre to create a coloured tunnel effect. The gateway draws in spectators and lets one explore, dance and interact with the piece and its vibrant colours as they are animated. On the opposite side of the tunnel, the semicircle’s centres create a cradling embrace effect for lounging. The shape of each pillar

is consistently changing size and proportions as they merge on the centre, creating an illusion of harmonic motion. These playful shapes are illuminated at night with programmable LED RGB lights integrated in the sculpture. The lighting is animated and marks the time every hour, on the hour, with unique lighting sequencing. www.aphidoidea.com

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TO THE MOON AND BACK MOON is an interactive sculpture from Montreal-based studio Iregular made of light and analogue synthesizers. Users can control the moonlight, floating in a window, by touching the space outside the window. Along with the lighting, the audio is generated by a Dave Smith Tetra, four-voice analogue synth. “We wanted to create a very intimate, immersive piece and I found the light tunnel with smoke gave this experience,’’ explained Daniel Iregui, Creative Director – Founder, Iregular. “We’ve been using the frame shape a lot, because it outlines the interaction zone without textual instructions. We’ve spent a lot of time experimenting with this aspect and MOON was an idea we wanted to try it on.’’ There are four different light patterns and sound voices that are selected randomly, but also allow four people to use it at the same time. www.iregular.io Pics: Courtesy of Iregular

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[spotlight]

FASHION FOREST Fashion brand COS returned to Salone del Mobile 2016 in Milan, Italy with a newly commissioned installation by Japanese architect Sou Fujimoto. Taking inspiration from the COS Spring Summer 2016 collection, Forest of Light explores ideas of interaction and perspective; the darkened space is illuminated by towering cones of light that are designed to respond to visitors’ movements. Specially-composed sounds, subtle fog and mirrored walls create an immersive, infinite landscape where the conical spotlights become abstracted trees in a shifting forest of light. Built in the 1930s by Italian architect Mario Cereghini, the installation was located in Cinema Arti in Milan’s San Babila district. A former theatre, the now derelict venue inspired the key aspects of Sou Fujimoto’s design and provided an expansive backdrop to the installation. Fujimoto commented: “The COS pavilion is the purest realisation of the forest concept. This forest is not static, but light and people interact with one another, this interaction connects fashion, space and forest as a form of architecture.” Open from 12 – 17 April, the collaboration with Sou Fujimoto marked the fifth year of COS installations during Salone del Mobile, and builds on the brand’s previous art and design collaborations with renowned global art establishments such as the Serpentine Galleries, Frieze Art Fairs and the Donald Judd Foundation. www.sou-fujimoto.net

Pic: Courtesy of COS

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[spotlight]

ANIMA-TED Developed by German studio for digital art and design onformative, ANIMA is a sculptural installation that explores the relationship between itself and its surroundings through the use of movement, texture, light and sound. The installation consists of a giant glowing sphere measuring two meters in diameter. This larger-thanlife entity is suspended from the ceiling, as if in mid-air, in a darkened room. The luminescent sculpture acts as the sole light source for the space, drawing viewers in as it reacts to their presence. Visuals of a viscous metallic fluid envelop the globeâ&#x20AC;&#x2122;s surface, creating an intriguing and mysterious ambiance as textures distort and flow around the shape. The reaction of the programmed light formations is a remediation of the surroundings, feasting

on its environment to create an immersive and interactive experience of light and sound. The spherical projection is achieved from inside the globe with a powerful wide angle projector and fisheye lens, producing images in a full 360Â° directional beam. Modulating frequencies, audible in the installation, respond to those in the space as sound is picked up and resonated back as feedback to the atmosphere. Through this process of refining behavior and visual complexity, ANIMA becomes life-like and impressive. Installed in the round, the piece is experienced from all sides. In a unique way, the sculpture creates an intelligent reactive dialogue with all bodies within its surroundings. The sculpture takes on an ethereal life of its own, as it and the viewer continue

their dynamic exchange. Participants, the orb and soundscape combine to influence each other and create an immersive and captivating experience. Initially a work commissioned for the Amsterdam Dance Event, the installation has since toured and exhibited at various galleries and events in the Netherlands and Berlin such as: LEHRTER SIEBZEHN, TEDxDelft, and the Kantor Art & Technology festival. The third incarnation of the work, ANIMA III - tamashii, was on view in Amsterdam in November 2015 at the Van Gogh Museum as part of Museum Night. Most recently, it was exhibited in Austin, Texas as part of Art at SXSW. www.onformative.com

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[spotlight]

Pics: Andy Williams

A MIDSUMMER LIGHT’S DREAM IST’s iDrive centralised LED drivers took centre stage at the recent Shakespeare Live! broadcast by the BBC from the Royal Shakespeare Company (RSC) in Stratfordupon-Avon to celebrate the life of William Shakespeare on the 400th anniversary of his death. The live event was also screened in cinemas around the world from 23 May. Watched by millions of viewers worldwide, the RSC required quality LED dimming and colour control for the lighting of this prestigious event. The iDrive Thor 36 constant voltage LED driver provided the ideal driver solution to power the theatre’s colour and white LED lighting, illuminating the stage and steps. IST’s UK Sales Manager, Russell Joseph, commented: “One distinct advantage of the iDrive Thor 36 to the RSC is that the drivers

are so easy to install and dismantle, making it ideal for the lighting of this one-off live performance. In addition, the Thor 36’s ability to power the LEDs from a remote location meant the stage design was not compromised in any way.” The LED driver is an ideal solution for stage, TV and theatre events, as it offers quality dimming curves with very low ripple effects. The RSC required dimming accuracy throughout the show and the Thor 36’s specialised dimming engine enabled up to 16-bit dimming resolution across all channels. Additionally, the RSC could be confident that the TV cameras would not pick-up any flicker from the LEDs, as the Thor 36 is camera-compatible. The LED drivers eliminate detectable flicker by operating

at 65,000Hz, which is higher than the frequency at which most other constant voltage LED drivers operate. Nina Archenhold, Marketing Executive, IST commented: “IST Ltd was absolutely delighted to be involved with this exceptionally high profile project. The lighting team at the RSC have been absolutely fantastic to work with and we look forward to working with them on future projects.” It isn’t the first time that the iDrive Thor 36 has been specified for a high profile project. Other installations include the Dubai Opera House, the SS Rotterdam, the Tropen Museum in Amsterdam, as well as an iconic cinema in Leicester Square. www.istl.com

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[briefing] Lights in Alingsås festival started in 1999 when students from HDK, Jönköping University and Gothenburg University gathered in Alingsås to experiment with different lighting designs for public buildings. Continuing to grow year on year, the 2016 theme is ‘The Enlightenment’ concentrating on sustainability and environmental issues, as Workshop Manager Margaretha Stenmark explained.

For those not familiar with Lights in Alingsås, what is it all about? It is an event divided in two parts; a workshop and an exhibition. The workshop is an educational part, to let students of lighting and architecture from all over the world learn more about architectural lighting in public spaces. All seven light-installations are built by these students led by experienced lighting-designers within a week. The workshop ends with a magnificent opening ceremony and the exhibition is open to the public for five weeks, with lots of activities around it. This year’s theme focuses on sustainability – what will this involve? We will focus on the seventeen sustainable goals compiled by UN 2015. All installations will illustrate one or some of the goals and we hope that we can enlighten visitors as to what is happening in the world and hopefully they will be inspired to do their small part to make it better. Are you able to disclose which lighting designers will be involved? Yes! We have Chiara Carucci from Italy; Carissa Brockway and Debra Gilmore from the US; Erik Hagström from Sweden; Ignacio Valero from Spain; Jytte Basler from Germany; Sabine De Schutter from Belgium; and Tad Trylski from the UK. And how did they react to this year’s theme? All the designers were very happy about the theme, it´s very current, but it’s also very hard to illustrate through illumination. The only thing I can say is, that it will be different to previous years and maybe the results will be different to observers in some cases. Lights in Alingsås is working towards an environmental diploma as well. How is this helping to shape the event? The event has to fulfil the basic regulations related to the environment and show that it is working with environmental issues. This influences the whole

preparatory process, how we act during the workshop and the exhibition. For instance we have to consider everything that we buy, take care of what our sponsors standpoint is in this matter, transportation for all participants, waste sorting and so on. In an intensive week before Lights in Alingsås opens to the public, the light trail is created by the international lighting designers, working with more than 60 students from all corners of the world. During the week the students will also have the chance to attend a lecture on sustainability and the environment with extra focus on global sustainability. The speakers will be Fredrik Bergman and Fredrik Wizemann (Sustainability Controllers at Alingsås Energy and responsible for ensuring that the festival receives its environmental diploma). How important is it to educate on sustainability in terms of lighting design? Lighting design involves a lot of respect towards sustainability, energy consumption, production of equipment, and also to consider equality and security when planning. Hopefully we can give the students some tools and new knowledge that they can use in their future work, which will contribute to achieve the three big issues over the coming fifteen years – to eradicate extreme poverty, to reduce the inequalities and injustices in the world and to solve the climate crisis... Lights in Alingsås festival runs from 30 September to 6 November, 2016. www.lightsinalingsas.se

Project : Fenêtre sur cour – 30, avenue du 16 novembre, Rabat - Lighting designer : Florian Douet Design - Architect : Ramy Fischler

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[snapshot] Established in 1997 by Hasan Bahadori and headquartered in Dubai, UAE, RGE Lighting Design Group is an international lighting design firm dedicated to creating innovative, sustainable and budget-friendly lighting solutions that enhance architectural, exterior and landscape spaces.

SOHA ADMINISTRATIVE-COMMERCIAL COMPLEX TEHRAN, IRAN

The lighting design for this beautiful commercial complex had very specific requirements, one of which was to display the beautiful architectural features that may otherwise be missed by passers by. Two types of warm light were used, with the general idea based on the assumption that amber light should be used to create a contrast on the outer layer of the façade. The inner façade, the walls overlooking the windows, and the upper parts of the structure were covered with cooler, warm white light. One of the advantages of using this light along with warm white light, is that it created a strong contrast and highlighted the architecture better, as well as a more three-dimensional vision of the façade’s architectural elements. One of the most important challenges in designing the lighting for this classic façade was the columns, which required careful attention at night. It was also required that the lighting highlight the cohesion, order and symmetry in the architecture.

ARG CENTER

TEHRAN, IRAN

Located near Tajrish square, the architectural style and lighting of the Arg Center is designed to strengthen the relationship between the complex and the public. To counteract the harsh and loud surrounding noise, the façade design aims to promote relaxation and calm. The façade creates the perfect conditions for indirect lighting and due to the indirect projection of light sources, none of the produced images have sharp edges and are in harmony with the architectural style. Numerous pictorial scenarios have been designed for the system and a unique feature is its interactive capability, meaning people can interact with the façade simply by moving their hands. The largest screen in the Middle East to be controlled directly by members of the public, the Arg shopping centre has created an immersive interactive installation that enables participants to display their mood through the lighting.

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JAM TOWER

TEHRAN, IRAN Jam Tower is a 34-storey building standing at over 130-metres and is adjacent to the two main axis of Tehran. Designed by Fluid Motion Architects, it uses modular system design to show gradual changes in the main mass of the building and the

connection between the office tower and the commercial platform at the lower levels. The slip of cubic modules and their puzzle-like movements towards each other are among some of the building’s unique features that create a dynamic and floating façade. The lighting concept is inspired by the flickering light of candles, with 2,500 light sources embedded on the façade,

creating various scenes on the building by using a powerful central controller, which determines the intensity, speed of light, colour and graphical forms. The controller is also able to measure the wind speed by an anemometer and in proportion to the wind speed, regulates the speed of flickering light of the candle light sources.

JAVADIEH BRIDGE TEHRAN, IRAN

The Javadieh Bridge located at the entrance gate of Tehran stands at 210m long and 104.5m wide. With a unique and modern design it stands out from any other cablestyle bridge in the region. The lighting design was expected to deliver numerous objectives. At night, the structure had to be seen and distinguished by observers on the ground and in the air, in the best possible way and the type of lighting used was expected to be in keeping with the form of the structure – modern. The lighting on the bridge was also expected to influence the surrounding space and atmosphere, while being able to create varied forms for special occasions such as national and religious holidays. There were numerous obstacles with this project and as such, highly advanced technology was applied in order to install the graphic cells and relevant controllers; all of the light sources and control systems were mounted by special magnets.

RGE LIGHTING DESIGN GROUP

· FOUNDER & PRINCIPAL DESIGNER: Hasan Bahadori · PROJECT DESIGNER: Amir Hoseini · ESTABLISHED: 1997 · HEAD OFFICE: Dubai, UAE · BRANCH OFFICE: Tehran, Iran · EMPLOYEES: 47 · CURRENT PROJECTS: Auris Lodge Hotel Sohar, Oman; Espinas Palace Hotel, Tehran; Baniyas Hotel, Dubai; Gardeshgari Bank Main Tower, Tehran; Armitage Tower, Mashhad; AURIS Hotel, Dubai; Atlas Mall, Tabriz; Olympic Residential Complex, Tehran; Koohsar Mall, Mashhad; Emerald Star Shopping Mall, Tehran; Saba Shopping complex, Tehran; Pars International Hotel, Shiraz, Damavand Tower, Tehran; Surbon Shopping Mall, Kish, Bazar Melal, Mashhad. www.prolight.ae / www.rge.ir

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THE SWISS LIGHTKEEPER Reflexion is a leading design practice in Zurich, Switzerland. Helen Fletcher spoke with founder and lighting designer Thomas Mika to discover how this team of architects, interior designers, lighting designers and electrical engineers come together to offer a diverse mix of knowledge and capabilities.

Reflexion is a leading design practice in Zurich, Switzerland. Founded by lighting designer Thomas Mika in 2001, and now owned by Amstein Walthert Holding Group, the team of architects, interior designers, lighting designers and electrical engineers come together to offer a diverse mix of knowledge and capabilities. At Reflexion, extensive expertise and years of experience combine under one roof, with crossdivisional exchange and continuous training ensuring the practice keeps in line with the latest developments and technologies. Attaching great importance to project presentations and design workshops, the practice’s core competence is light. With a degree in Economics, having graduated from the University of Zurich in 1995, Mika has somewhat of a unique perspective on the ‘business’ of lighting. Today, a member of the IALD and Swiss Lighting Association, it was time spent at a lighting manufacturer in order to earn some extra cash while studying, that ignited his passion for lighting. “It was never a natural progression or decision to be a lighting designer,” he tells mondo*arc, “it was a

very simple start at a small company that supplied fixtures for places such as dentists, shops and other small projects – this was my first experience of working with light. “A lot of my friends from university were heading into the banking business but this wasn’t for me, even though I had studied economics at university. I remember wondering what the value was in being a banker? If you provide a service, produce something or work in an industry then you can really say you’re contributing something to society, there’s an economic logic behind it.” And so, Mika enlisted on Postgraduate courses in Lighting Technology and Photometry at the Technical University of Berlin; various courses at the German Institute of Applied Lighting Technology, Ludenscheid; and Digital Light Simulation, San Jose, USA. “I was at university at a time when the world was open to anything,” continues Mika, “and honestly, my career in the industry started when I looked around and realised there was a real lack of lighting design in Switzerland. Because of my

education background I am interested in both an economic and aesthetic approach – two extremes perhaps and very different perspectives – but you’ll see from my sketch book, this is what I love to do.” For Mika, this passion for experimenting with different ideas through sketching at the initial design stage is something he is keen to instil in his growing workforce, which currently stands at 25, explaining to mondo*arc, that while 3D modelling might be involved later down the line, there always has to be a creative design stage. “When I began to learn about the complexity of lighting it really started to intrigue me,” Mika says. “I wanted to be able to understand it and work with it. You can enter a room where you’ve placed the light in a certain position and you can feel the atmosphere, the quality of the room - the aesthetic of the room is apparent. There is so much behind lighting that it is important when working on projects to try and make sure your client understands the light and what it can do before you install it – this needs a certain capacity or vocabulary, otherwise you’ll never be able

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Above The FIFA World Football Museum, where Reflexion was responsible for the lighting design. Left Credit Suisse in Geneva. Below Sacred Heart Church in Samedan underwent overall renovation work, which included a revised lighting concept from Reflexion. The lighting optimally adapted to the interior of the Romanesque church.

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This Page Tamina Therme, Bad Ragaz: Since the 16th century, the water from the Tamina spring has been used for healing and therapeutic treatments. The first indoor swimming pool was estabilished in 1872. In 2002, architects Smolenicky & Partners from Zurich won the project competition for the aesthetic adjustment of the outdoor pool at the new building, and Reflexion joined the project as lighting designer in 2007. The wooden construction stands out with its classic yet futuristic design and creates a whole new sensation of space. The incisive roomsâ&#x20AC;&#x2DC; structures and shapes are all painted and decorated in white to generate calmness. The lighting design as well as the architecture follow a strong, general concept.

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to explain the drama of light or equally, what you can produce with it, so it is imperative you have that knowledge in order to hand over the ideas and concepts.” When Reflexion was established it was very much linked to a clear business mission from Mika, asking himself: “What do we really need?” “What is an architect asking for when it comes to lighting?” “In the early days I was on a mission, selling my product, my brand and wouldn’t accept it when someone told me a lighting designer wasn’t needed.... But today, more and more, I respect when an architect says they don’t need a lighting designer. The more you learn about the language of light in architecture, the more you discover that it can be very simple and still very good. However, sometimes you require more and that’s when you have to be ready to emphasise all of your talent in the project,

this is what makes you successful. “If you end up trying to convince someone they need a new lighting system when they don’t, you’ll spend years getting nowhere. You have to consider the right projects – jewellery for example, it’s about getting the right light for the diamonds – once the client understands how complicated it is, it can make a huge difference to how good the items on show look, so it is about investing your knowledge in the right places. “I think if you’re involved in a project then there is always a need for a certain amount of ambition. You have to question it, look at things in a different way and free yourself of previous ideas. Start with the task at hand and then open the field up to the design and technical elements, then make a decision and review. It is our philosophy at the practice to interact in a strategic way.” When looking at the relationship between

Top St. Moritz indoor pool: The new indoor pool in St. Moritz is not only a bath with swimming and diving pools; children and fun area, but is a sports and leisure centre, which offers a space for wellness and gastronomy, outdoor activities and sales areas. Left Synthes’ new building for administration and development on the Zeughausareal. Developed in close cooperation with the architecture, the ceiling luminaire from Reflexion has a particular specialty. The individual light-emitting elements can not be dimmed, but the elements are switched on or off to achieve the desired amount of light. Right The town of Lachen, just 20-minutes outside Zurich, re-opened its harbour area with a new look in summer 2007. Reflexion illuminated the dock and surrounding area to encourage the people of Lachen to dwell.

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architects and lighting designers, it can be a mixed experience – with lighting design a fairly new industry, for Mika, the struggles he faced in the early days are not something that have entirely disappeared, as he explains: “It comes in waves… Sometimes it goes in the direction that lighting design is needed, but then there are small waves depending on the project and the architect, where you face an anti reaction against lighting designers, so there are sometimes opposite tendencies. “So, in general, yes lighting design is becoming more and more established but sometimes we still face opposition – in terms of budgets, complexity and competition from electrical engineers. Then as well as this, you have the big lighting companies that have their own lighting design departments.” Commenting on independent lighting designers that have since turned to work for a manufacturer, Mika continues: “Is

this a trend that will continue? Yes and no... Sometimes it feels like the industry is heading in a certain direction. There was a time that the lighting industry didn’t use lighting designers so much, but this has since changed and manufacturers have realised we should work together. So everything took on a new direction… Today, they see that the job is more established and consider, well should we have them on board? It’s always an economical decision.” Looking at some of Reflexion’s most notable projects, St Moritz indoor pool combines memorable architecture with a modern and efficient infrastructure, despite the unconventional appearence in the landscape and environment. Specifically with this project, Reflexion developed ceiling lamps that merged with the architecture and emphasised the lighting character of the building. As part of overall renovation plans, Sacred Heart Church in Samedan saw Reflexion

Top and Left The Reflexion office based in Zurich. Right The management team. L to R: Grischa Witt - Project Manager / Advanced Management; Martina Lehr - CEO; Arno Lampe - Project Manager / Advanced Management; Thomas Mika Management / Founder.

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Original sketches from Reflexion lighting design practice, a process and passion that founder Thomas Mika is keen to instill in his growing team of creatives - experimenting with different ideas through sketching at the initial design stage.

revise the lighting concept and optimally adapt to the interior of the Romanesque Church. The round shape of the direct / indirect luminaires connect harmoniously into the overall picture of the church. Through this project, religious, historical architecture and the latest lighting technology have been brought together and let the church shine in a new light. Mika tells mondo*arc that when entering a project, there are many aspects that have to be taken into consideration: “If we’re working for an institutional client we have to look at the philosophy of the company and the job or the product itself. There are certain standards that come with certain businesses. Also, if you’re looking at a specific industry with set needs it is about understanding this and treating the project accordingly. How can you address them through your own perspective to give them the right light? Who is going to be using the space? What kind of people are going to be there? What are their backgrounds and their expectations of the architecture? It is about digging deep and asking these fundamental questions.” One of the lighting practice’s most notable

exterior projects is the Harbour of Lachen, Lake Zurich. The town of Lachen is 20 minutes outside of Zurich and reopened its harbour area in 2007. Reflexion was responsible for illuminating the dock and surrounding area in order to encourage the people of Lachen to dwell. Moving forward, as a leader in the Swiss market, for the team at Reflexion it will be a case of maintaining its position while continuing to evolve as lighting designers working with new technologies, new markets and new demands from the world around them. “The technical background of lighting has changed a lot,” concludes Mika. “Take the incandescent lamp, we had more than 100 years to develop chandeliers and so on, that work well with the lamp, however industry today has not yet learned how to handle a traditional function - such as providing light - with a new technology using existing design approaches. We have to work on a good combination between LED and lighting fixtures and there is still some work to be done. Lighting is a phenomenon that is very difficult to control.” www.reflexion.ch

HIGHLIGHTS Projects that you’d like to change: All the projects that didn’t meet the expectations - this happens when the communication isn’t good enough. Projects you admire: In general, projects with poetic, soft and simple light intervention. Projects you dislike: In general projects with harsh, extroverted light intervention and installations that are far too intense. Lighting hero: Beside the real artists like Turrell, Eliasson and others, I see so many surprisingly beautiful concepts and installations from friends and colleagues which inspire me - these are my heros. Notable projects: All the big and small scale projects that have been successfully realised thanks to our team of highly skilled employees and where we can say altogether mission accomplished. Most memorable project: It is more about the way through the projects and the interaction and discussion about space and light with the architects - that has always been the memorable part of the projects for me - this is very much linked to the architect as person, partner opponent and friend.

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“Architecture is never a solo act. I like to compare it to directing a symphony orchestra; it’s all about teamwork, about being visionary, sensitive and supportive at the same time.” - Francine Houben

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HOME FROM HOME Creating unorthodox designs born from a sensitivity to context and an interdisciplinary design process, the Dutch architectural practice Mecanoo finds its newest home in Manchester, UK. Helen Fletcher discovers how Francine Houben’s ‘People, Purpose, Place’ philosophy transcends the Netherlands’ borders.

Pic: Harry Cock - Francine Houben with Mecanoo colleagues.

Mecanoo architecten was co-founded by Francine Houben in 1984. She has since led the firm to success in the Netherlands and abroad, amassing a portfolio of work that is wide ranging, inspired by global challenges and with a sustainable view on society. Mecanoo combines the disciplines of architecture, urban planning, interior design and landscape architecture to produce unorthodox design solutions born from a strong sensitivity to context and a highly interdisciplinary design process. Mecanoo’s projects range from single houses to complete neighbourhoods and skyscrapers, cities and polders, schools, theatres and libraries, hotels, museums and even a chapel. Some of its most notable projects include the Municipal Offices and Train Station in Delft; the Holland Open Air Museum in Arnhem; one of its latest projects, the Hilton Amsterdam Airport Schiphol hotel; the Library of Birmingham; and HOME Manchester to name just a few. The practice is made up of highly multidisciplinary staff of over 160 creative professionals from 25 countries working in offices in the Netherlands, UK, US and Taiwan. Alongside creative director Houben, the company is led by technical director Aart Fransen and financial director Peter Haasbroek, who are joined by partners

Francesco Veenstra, Ellen van der Wal, Paul Ketelaars and Dick van Gameren. Knowledge centres within the practice enable the team to stay up-to-date in technological and design innovations in sustainability, eco-engineering, technology, education and learning, high-rise and mobility. The extensive collective experience, gained over three decades, results in designs that are realised with technical expertise and great attention to detail. Each of Mecanoo’s projects illustrate the three fundamental elements of Houben’s architectural vision: people, place, purpose. Discovering unexpected solutions for the specifics of programme and context is the foremost challenge in all of the assignments. Each design is considered in terms of its cultural setting place and time. Preoccupied not by a focus on form, but on process, consultation, context, urban scale and integrated sustainable design strategies, the practice creates culturally significant buildings with a human touch. Interweaving social, technical, playful and humane aspects together, Houben and her team form a unique solution to each assignment, embedded within its context and orchestrated specifically for the people who use it. Houben maintains an active presence in

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Pics: Harry Cock

“We love light, it’s fundamental. Working with daylight is a wonderful thing. From a sunlight perspective, we’re always looking back at the design to maximise natural light into the project, landscape or the building and enhance this wherever we can.” - Ernst Ter Horst

academia and culture, regularly publishing critical works and giving lectures all over the world. She has performed in numerous academic and professional capacities throughout her career, including Chair of Architecture and Aesthetics of Mobility at Delft University of Technology; visiting professor at Harvard Graduate School of Design; and as director of the First International Architecture Biennale in Rotterdam. In March 2016, she was awarded an Honorary Doctorate from Utrecht University in the Netherlands. She has received honorary fellowships of the Royal Institute of British Architects, the American Institute of Architects and the Royal Architectural Institute of Canada. In 2014, she was elected Woman Architect of the Year by the Architects’ Journal and in November 2015, Queen Maxima of The Netherlands presented her the Prins

Bernhard Cultuurfonds Prize for her wideranging career. In 2011 the Mecanoo Manchester office was born – acting as a project office for HOME Arts and Culture centre, a project that in 2015 solidified Mecanoo’s position in the city of Manchester. Headed up by Partner and Architect Francesco Veenstra alongside Associate Architect Ernst ter Horst, the Manchester office has grown significantly in the past four years and now has a strong team in place working alongside the duo. While the offices in Delft and Manchester are separated by water, they have a unified identity and thanks to the internet are in constant communication. Having been with Mecanoo since 1995 and partner since 2007, Veenstra’s clientcentred approach is underlined in the development of strong concepts that lead

to both the satisfaction of the brief and the enhancement of community benefit. The strength of this is evident in the wide reception of numerous Mecanoo projects he has lead to completion, most notably the Library of Birmingham, HOME Arts and Culture centre, the Delft Municipal Offices and Train Station, and Texel Island’s Kaap Skil Maritime and Beachcombers Museum – all of which reach beyond the limitations of the site and the project to serve their communities. Ernst ter Horst is Mecanoo Manchester’s frontman and he played an integral role in the delivery of HOME. Having worked for Ian Simpson Architects for over twelve years, he leverages a wealth of experience having worked on some of Manchester’s most significant construction projects over the last fifteen years. Born in the Netherlands, raised in Portugal and now

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living in Manchester, Ter Horst lends a rich cross-cultural background to the Manchester team, including his own experience as a student at The University of Manchester, where he graduated with distinction in 2003. For Veenstra, what makes Mecanoo stand out from the crowd is its design philosophy, telling mondo*arc: “Some architectural practices have a very distinct separation between the various design disciplines, but we believe it’s a necessity to cross borders. Depending on the needs of a project, one or two partners lead a multidisciplinary team, ensuring cohesion in the work. There are no strict boundaries between architecture and design or way-finding or software engineering and so we always try to bring all the elements together and stitch them in – creating one holistic design.” As part of this holistic approach, Mecanoo

appreciates the relationship between architecture and lighting, with both daylight and artificial lighting being very important factors in the company’s philosophy and design methodology, as Veenstra and Ter Horst explain. “The architectural design stage is very much dependent on lighting,” says Veenstra, “changes in light, changes the space.” Using HOME as a reference, Veenstra continues: “if you look at the restaurant space (at HOME) which - together with Concrete architectural practice - we developed a lighting concept for, the luminaires are 3m above floor level, meaning the light almost becomes a second ceiling in the space. The use of artificial light really helps to create space and focus when needed. Artificial lighting is of great importance in our designs and ideally should

Mecanoo is headquartered in Delft in a building that dates back to 1536. In 1750 the interior and exterior were completely re-designed by the Italian architect Bollina. A 40-metre long marble corridor divides the building from the front to the back door. The central staircase, ceilings and doors are decorated with stucco and carved in the style of Louis XIV. From the late 19th Century until the 1960’s, the building was used as a hospital. In 1983, a part of the Oude Delft 203 was rented to different business start-ups and Mecanoo settled in a back room. From 1995 onwards, Mecanoo has taken up the entire building. As of 2015, the Mecanoo Campus also includes a pavilion located in the garden behind the main building.

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Pics: Courtesy of Mecanoo

be part of the very early design process.” “We love light, it’s fundamental,” adds Ter Horst. “Working with daylight is a wonderful thing to be able to do. From a sunlight perspective on a larger scale, we’re always looking back at the design to maximise natural light into the project, landscape or the building and enhance this wherever we can. “When you get to the medium level of design, you’re looking at how windows, roof lights or atriums can be designed to flood the building with daylight. You have to consider how the light is being used and how it is supplemented, asking questions such as ‘how can the details of the window frames be enhanced so even more daylight comes in, or is reflected, or is bounced around’. A micro level of this is the artificial lighting.

“The whole southern elevation at HOME is highly glazed to get as much daylight into the scheme as well as views out. We had to battle against solar shading and solar gains to prevent the building from overheating. Using fins helps to mitigate excessive solar gain but also, their orientation is such that you can still see outside,” continues Ter Horst. “I’ve been at HOME on warm days and have been surprised at how pleasant the temperature is. We’ve got the thermal mass of the concrete and lots of daylight flooding in, yet it feels absolutely fine which is really remarkable.” “We worked with BuroHappold on the lighting at HOME, as well as other designers,” continues Ter Horst. “This helps keep the ideas fresh and new. This can be considered a trait of Mecanoo working collaboratively with lots of other

Mecanoo has been responsible for some of the UK’s most notable cultural projects, including: Left Library of Birmingham Above Left HOME Manchester Right Manchester Engineering Campus Development, which is currently being designed.

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Pics: Courtesy of Mecanoo unless stated.

“Up until about ten years ago we underestimated the importance of lighting design, the focus was more on daylight and artificial lighting was very much about choosing the right luminaire in the sense of aesthetics. This has radically changed and it has become more obvious that we need to work with a lighting designer. ” - Francesco Veenstra

disciplines, not just lighting designers. “Often there will be someone working on the project that approaches the lighting with a fresh pair of eyes and from a different angle - this makes you think differently about it and can make the project even better. Working with lighting designers is key as it can be really beneficial in specifying the right light fittings for reducing energy use, while getting the right quality of light. “Francine’s view on lighting is very strong - the warmth of light you get at HOME is really key to her. In the Library of Birmingham for instance the large entrance space with the café is a wonderfully impressive environment, but a slight light adjustment in terms of warmth and tones could define the café in a better way. This is

an example of where lighting designers can really enhance that level of specification and get the right feel in a space.” Veenstra adds to this telling mondo*arc: “I think that up until about ten years ago we underestimated the importance of lighting design, the focus was more on daylight and artificial lighting was very much about choosing the right luminaire in the sense of aesthetics rather than performance.” “This has radically changed since we started to work on larger scale projects,” says Veenstra. “It has become more obvious that we need to work with a lighting designer. Performance has become increasingly important, not only from a sustainability aspect but from a building management and healthy environment point of views. I think from that moment on, even on the smaller

projects, having lighting designers on board became a real contribution to the Mecanoo team.” Commenting on what lighting should bring to a project, Ter Horst again references HOME: “Lighting brings a great deal to a project. Take the HOME lighting sign for example that is suspended from the restaurant’s ceiling. We worked with a signage designer for this and it creates a different sense of scale inside and a distinct identity for the building.” “We didn’t want to just stick a sign on the front of the building and neither did the client. We wanted to be restrained and subtle in our approach and this is one way we achieved this. The sign provides an identity for the project as well as creating an intimate sense of scale in the tall

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Pic: Christian Richters

Francesco Veenstra

restaurant space. “Intimacy, identity and warmth are unquantifiable. Lighting provides points of interest and gradation.” Where as some architectural practices might come to the table with a fixed plan of what they want to do, this is where Mecanoo differs, preferring to present a less formal, structured idea so that it doesn’t become unworkable further down the line if it doesn’t fit the intended space. Instead of being form-based, each project is informed through open dialogue – all very diverse but all the while using Houben’s principle of ‘People, Place, Purporse’ to create unforgettable spaces. Looking ahead, with the Manchester office now firmly established in the city, could the next step be London, something that would

be considered an obvious move to some? “We do have projects running in the London area,” says Veenstra. “We’re currently working on the construction phase of a residential project in Cambridge, as well as a large-scale residential project in London for Peabody Trust. It’s a huge scale project, which requires a very local presence and as such, we are indeed planning a London office. “Our main focus will remain on the projects we currently have, delivering what we’re supposed to – high quality architecture,” concludes Veenstra. “We manage to be a successful partner during the construction phase as well and this is something we want to build on to improve the architectural quality in the UK.” www.mecanoo.nl

Ernst ter Horst

Left Hilton Amsterdam Airport Schiphol hotel, one of Mecanoo’s most recent projects, completed in conjunction with dpa lighting consultants. Centre Municipal Offices and Train Station in Delft. Right Holland Open Air Museum in Arnhem.

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GAME ON!

WSP Finland is utilising the Unity game engine, photo-scanned materials and LuxRender software to achieve a realistic, immersive, virtual environment to aid the lighting design of their latest ongoing project. We take a look at how they do it.

The WSP Finland Unity team members (from left to right): Petter GĂĽsstrĂśm (Development), Pia Salmi (Unity Manager), Leena Kaanaa (Product Manager, Lighting Design), Olli Poutanen (Interactive Design), Feodor Mayow (Design and Modelling).

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Rendering: WSP Finland

USING THE UNITY GAME ENGINE FOR LIGHTING DESIGN Lighting that adapts to the user is a new technology with operability that can be tested using a game engine. “Writing the model for the game engine began in the form of cooperation with students at the Aalto University and was inspired by the Aalto Light Energy research project,” explained Pia Salmi at WSP Finland. “The aim of the project is to develop the energy efficiency of outdoor lighting without compromising on traffic safety.” The Unity game engine was used to study what the adaptive lighting looks like in the landscape and on the Kruunuvuorensilta Bridge, their most recent project, and how the adaptive lighting affects pedestrians’ experiences of the safety and congeniality of the environment. At the preliminary design stage a model was made of Kruunuvuorensilta Bridge, while at the next stage, the entire design

area will be simulated. The design of Kruunuvuorensilta Bridge and the road layout will be carried out using a Building Information Model (BIM). In fact, data models will be prepared of all the designs and details, in which the compatibility of the various technical sub-areas can be checked and any overlaps can be identified. The data model will not, however, work as an illustrative presentation model as the place of the bridge will be taken by technical design documents. The material in the data model will be used as a basis for the Unity model, but it will have to be edited and slimmed down before it can be loaded into the Unity program. The illustrative Unity model can be used both for design in general and for public relations concerning the specific plan. The model can be used to examine both the adaptive lighting related to users and the special lighting of the pylons. The lighting will be examined on the bridge, further

away out to sea and on the shoreline. While the design is being drawn up, examination of different lighting arrangements and intensities using the 3D model will give all those involved the same understanding of the design. The Unity model provides a more illustrative and a more empirical result than traditional 3D images, when different lighting-control situations can be simulated interactively. The game engine produces scans of the materials in the structure and in the landscape, which reinforce the reality of the cyber environment. The sound of the tram and other ambient nature sounds will also be present in the model to enhance the reality of the experience. And here’s the really exciting bit. “The completed model will be used for decision-making and public relations for the project,” says Salmi. “Individuals will be able to move about inside the model using Occulus Rift 3D spectacles in conjunction

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One of the final renderings of the Kruunuvuorensilta Bridge. The Unity modelling team has other ongoing projects including lighting simulations for faĂ§ades and special street lightings. WSP hired the Unity team last summer and have been pleased to see how the clients are interested in this tool. The city of Helsinki actively use the models and even present plans with the 3D glasses to the city board and other officials.

with the game engine, and observe the lighting and the bridge design from the same perspective as if they were moving around on the completed bridge.â&#x20AC;? The model will also operate as a presentation model via the Internet without using the 3D spectacles. In addition, WSP Finland will also be preparing videos of the model in which the viewer will be able to ride on the tram and move around the streets and the square. The model has been on show at the Tram Exhibition at the Laituri Gallery in Helsinki since January 13th 2016. THE BRIDGES The new tramway bridges (Kruunuvuorensilta and Finkensilta) paint a new skyline for observers offshore and provide a new viewpoint towards the city. The bridges are situated in the fragile Helsinkipuisto nature area that requires a special emphasis on the safety

and ecological aspects of the lighting design so that obtrusive light emitted to the environment (light pollution) can be minimised and a degree of darkness maintained. The views, both towards and from the bridges, will be preserved as far as possible. Light will be controlled by increasing light according to trams, pedestrian and cyclists. The light is limited to areas where needed by using non-glare light fittings and further controlled by dimming-down light sources when these areas are not in use. The lighting plan complies with the principles and guidelines of the 2015 Helsinki outdoor lighting feasibility study, the development plan guidelines and the principles of the Light District report. Bridges will become prominent landmarks and thus require special consideration when their illumination is designed. Architectural aspects and lighting designs are based on the winning proposal in the

bridge competition in co-operation with Knight Architects (UK). The main visual elements of the lighting plan are the Kruunuvuorensilta Bridge pylon and the design of combined tramway power and lighting columns. The illumination of the bridge pylon by spotlights is dynamic and can be modified if and when required. Lighting on the bridges will be implemented using LED light sources. The result will be an energy-efficient, long-term lighting solution that enhances the aesthetics of the bridge architecture. The systems for controlling the LED lighting will provide an opportunity to adjust the lighting according to the particular needs of any specific area. The Kruunuvuorensilta Bridge will accommodate a high-speed tramway with carriage speeds of up to 70kph. The tramway will be illuminated to prevent accidents. The lighting classification for the footpaths and cycleways on the bridge is P2. The colour temperature of the white

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The Unity game engine enables individuals to move about inside the model using Occulus Rift 3D spectacles to observe the lighting design.

light in the overall lighting will be 3,000K and the minimum requirement for the colour rendering index Ra will be 80. The serviceability of all light fittings will be taken in to account when finalising the locations of the fixtures. The lighting of the Kruunuvuorensilta Bridge footpaths will be fixed to the bridgeâ&#x20AC;&#x2122;s south-facing balustrade. The tramway and cycleway will be lit by LED modules fixed to the combination columns. OVERALL PLAN FOR THE SPECIAL LIGHTING OF KRUUNUVUORENSILTA BRIDGE The pylon of the new Kruununvuorensilta Bridge will be illuminated to form the highpoint of the design, as a landmark. In daylight, views of the bridge will highlight the pylon and its supporting cables plus the combination columns. At night-time, the lighting will bring out the lines of the bridge deck and emphasise the pylon as the climax of the design. The diamond-shaped edges of the bridge pylon will be highlighted by narrow cones of light from the RGBW spots. The illumination of the pylon will be programmed to provide varying special lighting according to the calendar year and to mark major City of Helsinki festival days. One special feature of the pylon lighting will be that it can be controlled by a mobile device. It will be possible to give organisers of and participants in City of Helsinki events the right to control the lighting for the duration of the event. When there is no-one present on the bridge, the lighting will be dimmed to a level of 10% of the normal. The lighting level will be increased automatically to the recommended level approximately 100 metres in front of any bridge user and then reduced again approximately 100 metres behind any bridge user. As far as the tramway is concerned, the brightening of the light is designed to take into account tram stopping-distances and the requirements set for traffic safety. Sensor technology can be implemented using smart long-range sensors which can identify the speed and direction of movement of different user groups on the bridge (trams, cyclists, pedestrians, motor vehicles). The sensors will be integrated into the bridge balustrades or the supporting columns. The technology used in long-range sensors is under continual development so that the way these are used will be refined as the design proceeds. The building of the Kruunuvuorenranta bridge is estimated to start 2020-21 and to be completed in 2023. www.wspgroup.fi

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Pics: Shuhe Architectural Photography

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The gold-toned ceiling and the gold-hued carpet provide a contrast to the white backdrop of the main eyewear displays, as well as reflecting the illuminated platform upon which products are placed.

OPTICAL ILLUSION Utilising the properties of high-quality materials, pfarré lighting design's bespoke lighting scheme celebrates Bolon's eyewear products in a way that creates a unique visual experience for the Shanghai store's customers.

Bolon is one of the world’s largest spectacles manufacturers and China’s bestknown sunglasses brand. The Bolon brand is positioned as a premium lifestyle brand in this segment, with the main advertising campaign, revolving around French actress Sophie Marceau, evoking French elegance and fashion consciousness. Its new store design in Shanghai, China offers a clear spatial interpretation of this attitude in a space that is barely more than 1,000sqft. Unique spatial elements that retell a narrative, such as iconographic shelves and a polished gold ceiling, vividly illustrate the brand’s realigned public image as a self-confident market leader. The interior design centres around a clear, iconographic and instantly recognisable product presentation, created by Ippolito Fleitz Group. White square panels, set at right angles to each other, create a strict,

three-dimensional grid on the presentation walls, where each pair of glasses sits on its own mini stage. The impression made by the product is further enhanced through a skilled use of directed lighting, designed by Munich's pfarré lighting design, who were recommended by Ippolito Fleitz Group and introduced to the client Xiamen Artgri Optical Co. The pfarré team worked with no design brief and purely reacted on the display system/interior design created by Ippolito Fleitz. “We refined their design with light, presenting the products in the best possible way,’’ explained Gerd Pfarré of pfarré lighting design. “Carefully considering the general lighting and not disturbing the product presentation, we minimised the amount of fixtures in the ceiling, creating shadow, contrast and reflection where we wanted to have it.’’

Each pair of glasses is set against an illuminated background, thus highlighting the colour of the lenses. At the same time, a targeted LED spotlight is directed at the product from the vertical panel suspended immediately above it, giving it a subtle aural emphasis. The shop space is characterised by the use of high-quality materials such as a white marble floor and black marble for the presentation cases and service desk. A leather-covered expanse of wall provides an additional focal point within the space, as well as creating a warm setting for in-depth consultations. 4,000K adjustable LED downlights create an evenly distributed glow on the white marble floors, which is then reflected on the gold ceiling. The gold-toned ceiling and carpet provide a contrast to the white backdrop of the main eyewear displays.

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Visualisation: Courtesy of pfarré lighting design

Pic: Courtesy of pfarré lighting deisgn

Drawing: Courtesy of pfarré lighting design

Top Left targeted LED spotlights directed at the product from the vertical panel suspended above it, give it a subtle aural emphasis Top Right 4,000K adjustable LED downlights aim down to the floor, creating an even glow on the white marble floors, which is then reflected on the gold ceiling. Left "red zone" light and shadow scheme. Above false colour rendering visualisation.

Initially, the panels started out with glowing edges but Pfarré and his team saw that it didn't highlight the eyewear, and thus moved the band of horizontal light to the back. They also needed to highlight the product from above, and help it shine without creating glare or shadow. Pfarré worked with the manufacturers on the shelf design to build a one-to-one mock-up and tried LEDs against a variety of shelving material, including tests with glass and samples using a translucent foil. After necessary trials, they decided to paint it in a solid white to prevent light penetration.

In order to achieve the correct balance of light levels throughout the project, selecting the correct colour temperature was very important. “Generally, the taste in China is for a cooler colour temperature, especially in jewellery and retail,” said Pfarré. “In the end, we came up with 4,000K for the entire store, which is rather warm.” This temperature works best for both the products as well as the warm reflection generated by the gold ceiling. The final result is a horizontal display lit by a 4W LED strip hidden behind the rear panel

edge. The three visible edges are coated in a solid, high-opacity white paint. A vertical fin above uses a custom-designed 3W LED spot with a lens with an oval beam spread to further emphasise the product. Elsewhere in the store, the free-standing vitrines are illuminated by off-the-shelf lightpads selected by the designers. They selected an evenly distributed 4,000K at approximately 200W per sqm. Adjustable 18W, 4,000K downlights with black anti-glare rings and an 8° beam spread illuminate the freestanding vitrines from above. The wall vitrines use the same

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The store's wall vitrines use the same off-the-shelf lightpads as the freestanding vitrines, except with a 6W version, and are paired with 4,000K downlights.

off-the-shelf lightpads, except with a 6W version, and are paired with 4,000K downlights. Pfarré explained how, in terms of integration and sensation, this project was very special. “I think we really squeezed out the potential of LED and optics - in order to create a truly minimised solution,’’ he added. Upon reflection of the project and design process, the studio said the effect of the overall lighting scheme topped its expectations. “You think, yes, it’s a good idea, it’s feasible, all in budget and time, and then, when the lights have been turned on, there was this thrilling wow effect,’’ Pfarré concluded. “The sum of all displays together create this very special visual sensation, enhancing each pair of glasses, like in an exhibition, all together evoking this incredibly strong impact for the eye of the customer.’’ www.lichtplanung.com

PROJECT DETAILS Bolon Eyewear, Shanghai, China Client: Xiamen Artgri Optical Co. Interior Designers: Ippolito Fleitz Group Lighting Design: pfarré lighting design Lighting Specified: Fushida custom-made luminaires

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Pics: Florian Licht, Mohamed Medani

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A SHIPMENT OF COLOUR From its settled, minimalistic architecture during the day to a colourful experience at night, Box Park Dubai's many faรงades form a mosaic of colour created by Delta Lighting Solutions' ever-changing, dynamic lighting scheme.

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Enclosed in flight cases for protection from weather conditions, Barco RLM-W12 video projectors, were mounted on custom industrial poles, specially designed for the project, showing video content that follows the thematic design. Martin Exterior 400 image projectors were mounted on pedestrian poles, custom designed to accommodate 1-3 projectors in pockets, so that fitting visibility is minimised. Gobos content was developed along with the different themes on this project. Modular Julien Square and BOX lite exterior downlights, are mounted on beam structures to highlight F&B areas, and at the back of house areas to provide a settled illumination.

Dubai Box Park, is a unique retail and F&B project that stretches around 1.5km along Al-Wasl road in Dubai, United Arab Emirates. The project has had the effect of encouraging local startups and revitalising the Al Wasl road area. Designed by developer Meraas and the in house design team Studio M, the usage of modified and insulated shipping containers, which house many of the outlets, creates a unique impression and allows for smaller store foot prints. Shipping containers were stacked together to form the stores and restaurants, and in many cases supplemented with concrete precast structures. The residential district in which the Box Park was built has been slowly transforming into a strong retail district, now becoming a Dubai landmark and attracting a younger, hipper client base.

Responsible for the development of the lighting scheme, international awardwinning lighting design firm Delta Lighting Solutions, drew inspiration from the containers and the industrial feel of the architecture. As a consequence, theatrical lighting also had a strong role in design considerations whereby different layers of light provide depth to the project, just as stage lighting does. “The Head of Architecture at Meraas, Zak Ayash, approached us for this project,’’ said Ziad Fattouh, Principal, Delta Lighting Solutions. “I have known him previously during the days when he worked at Foster and Partners - where he was a design partner. He informed me that they wanted to make the project a landmark and it had the direct attention of the top management of Meraas, so it was very critical to get the lighting right.’’

Delta was told to ensure that light levels on the walkways, roads and seating areas were at a sufficiently high level, and that the client wanted to create some excitement as well. The client was also interested in creating a strong visual landmark during the day and night. Initially, the project consisted of primarily dark grey containers stacked on top of each other with very few of them painted in other colours. This was later changed with many of the containers painted in vibrant colours. “Our inspiration for the façade lighting was to create a mosaic of colours often found in a container terminal,’’ explained Fattouh. “A lot of video projection and gobo projection was used to project imagery, faux graffiti and other effects that portrayed a certain character, drawing on inspiration from different city centres

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iGuzzini Linealuce inground colour-changing RBG, cool and warm white linear uplights highlight the lower level of façades. In addition, Traxon Allegro linear surface-mounted colour-changing RGB, cool and warm white uplights graze the upper level of façades and containers, integrated into architectural pockets to blend with the containers and building elevations.

around the world.’’ Depending on the zone visitors are in, imagery and projection is in line with the character of that space. The combination of colour-changing lights, video and gobo projections and other lighting sources allowed Delta to create dynamic and entertaining façades that constantly change in mood. “For the lighting of walkways and parking zones, we took inspiration from the I-beams seen in shipping yards and created a simple, family of poles, and painted these a storm grey similar to the containers. Some of the poles were used to mount Bega LED and metal halide light sources, which provided lighting for pedestrian and car park areas,’’ said Fattouh. Other poles were used to mount video projectors and gobo projectors. The poles worked with the theme of the project and looked to enhance

its very industrial feel. RGBW linear light sources are integrated seamlessly into the containers, creating a mosaic of colours during the night, as well as white light during off peak hours and single colour monochromes. The mutlicoloured scene seeks to recreate the image of the stacked containers in a shipping terminal, which are usually painted in various colours. “The lighting creates various zones, each evoking the character of different industrial or retail districts within major cities: the bright lights and billboards of Broadway, New York; dotted light points adorning Harrod’s façades in London; Queen Street Toronto with its graffiti walls, neon, and tattoo parlours; and the theatre district in Paris,’’ described Eleni Savvidou, Design Director, Delta Lighting Solutions. The unique lighting character of each

zone supports way finding and also creates interest and excitement for visitors. “In order to differentiate these zones with light alone - as the architecture remains constant - different colour palettes, along with themed gobos, projected imagery and high-resolution projections were selected for each zone,’’ Savvidou explained. Video content and custom gobos were developed through inspiration gathered from graffiti, media screens and advertisement panel visuals that are often found above industrial areas. Within the 'Harrods' zone, holes were bored into concrete panels to house a custom LED light fitting with a glass half sphere acting as a diffuser. The most visually stunning and main light effect comes from the light towers, which is achieved through multiple rows of RGB linear lights, creating low resolution screens

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Bega Pole LED heads, mounted on custom I-beam industrial poles, highlight the walkways between restaurants and retail stores. Additionally, Traxon Media Tubes have been installed on media towers between the louvers, in such way that they blend with the architecture. Each of these projects low resolution videos of various content that follows the Box Park concept at each zone. Lumascape inground uplights are mounted on palm trees, revealing the sculptural shape of their trunks and crowns.

in five locations along the project. The media content developed for the light towers also helps differentiate the project into zones via the content that is displayed. Custom poles and bollards have been developed with a very industrial feel, while faux steel I-beams with glare-free light heads illuminate sidewalks and parking zones. Sidewalk lighting provides horizontal and vertical illumination of the space, thus allowing for good facial recognition, creating a feeling of safety and comfort. Custom poles were also designed to host the gobos and 3D projectors where necessary. When considering the lighting for the pedestrian zones, glare has been minimised through careful selection of light sources and shields, reducing angles of incidence onto the pedestrians or people dining in the F&B outlets. In addition, high colour rendering was achieved by using both metal halide and high CRI white LED light sources, while colour changing RGB LED light sources are used on the faรงade elevations, highlighting the architecture. Lighting uniformity along walkways is achieved through careful study of light fitting selection, pole spacing and utilisation of ambient lighting coming from other sources. To control all the varying lighting elements, including all theatrical and architectural lighting, proved to be a challenge especially as the project was spread over several city blocks. The backbone of the light controls consists of an architectural control system, which controls the majority of the architectural light sources, including: street lights, pedestrian light poles, wall washers, tree uplights, external F&B area lighting spaces and other light sources, while acting as the master control for the other DMX controls, including the gobos, video and media controls. The system allows the lighting to create multiple scenes during the night, vibrant and dynamic scenes during

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high versatility sets this spotlight apart, while its compact design allows for seamless integration into troughs just 200mm wide. Available in a choice of beamwidths including a very narrow 8ยบ with a peak intensity of 51,000cd, three colour temperature choices, and colour rendering of CRI90+ as standard.

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03/06/2016 10:58

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Bored into the GRC concrete panels on façades within the so-called "Harrods" section of the project, Aldabra Polaris wall recessed spotlights with a modified mounting detail provide a unique lighting effect, spilling onto the sidewalk.

regular working hours and subdued white and monochrome scenes during later hours and closing time. Box Park is an inviting, comfortable and engaging place to visit. Residents and tourists can enjoy a fun shopping and eating experience. “We worked directly with the client and not through a lead consultant, this allowed us to communicate ideas quickly and avoid things getting lost in translation. These two things, make for a design formula that magnifies creative thought and allows for great projects,’’ added Fattouh. The Delta team explained how the main challenge was dealing with budget limitations that required the project to be built as designed in the concept phase but with a 40% reduction on lighting cost. “We have maintained the concept ideas but eliminated the areas of its application so that no specification changes occurred but only relocations of the effects,’’ explained Savvidou. “We were still able to use LED sources with up to 80% of the products

being LED, and with careful selection of the surfaces to illuminate, minimised energy consumption to an average of 2W/sqm.’’ Another challenge the team faced was the long hours of programming. The project uses multiple light and media sources that require synchronisation as well as the project being divided into multiple themed zones, providing a further layer of complexity. For that reason, the gobo, video, and media had to be selected and uploaded by area. Gobos had to be installed on each projector on site, carefully selected to fit the surfaces and the distances focused on façade surfaces. Delta's scheme ensures that lighting is a part of the architecture on this project. “The architectural façades are the canvas that we paint with light,’’ concluded Savidou. “Our intent was to provide visitors with an experience and a flair of an outdoor ambiance, reminding the character of industrial areas around the world, which we believe we have accomplished.’’ www.deltalightingdesign.com

PROJECT DETAILS Box Park, Dubai, UAE Client: Meraas Holding Design Architects: Studio M, Meraas Holding Lighting Design: Delta Lighting Solutions

LIGHTING SPECIFIED Aldabra Hidra minimal size LED floodlights Aldabra Polaris wall recessed spotlights Barco RLM-W12 video projectors enclosed in flight cases Bega pole-top LED heads mounted on custom I-beam industrial poles iGuzzini Linealuce inground RBG, Cool and WW linear uplights Lumascape LS343 HIT Pure optics inground uplights Lutron Quantum total light management system with Universal prefabricated lighting control panels. Martin Exterior 400 image projectors mounted on customdesigned pedestrian poles Modular Julien Square surface-mounted exterior downlights Modular BOX lite surface-mounted exterior downlights Traxon Allegro linear surface-mounted RGB, Cool and WW uplights Traxon Media Tube linear LEDs

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Pics: Skira and Hrvoje Serdar

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Top Bespoke poles and inground light fixtures adorn the outdoor space at Cikat Bay. Middle The Jellyfish lighting spectacle uses optic fibres from LAM 32.

BEAUTY BY THE BAY Working closely with the project's investors, lighting design practice Skira provided sophisticated lighting design in order to produce atmopsheric surroundings that highlight the natural beauty of Čikat Bay.

Čikat Bay in Mali Losinj, Croatia, was at one time, very well known as a luxury health and seaside resort for the continental upper classes during the 19th Century. Its charming surroundings and discreet nature of its location never actually changed this initial purpose and after recent revitalisation, this fascinating and beautiful location has become even more of a luxurious five star destination with attractions of an exceptional level. The architectural lighting project from lighting design practice Skira, consists of a grand hotel, exclusive boutique hotel, two commercial villas, five private villas, connected green areas, public roads,

driveways, a water park and promenade. In total, an area of 162,082m² has been illuminated (public space 16,230m², exteriors 87,596m², interiors 58.256m²), with the architectural lighting based on a holistic and methodical approach from the very early design stage. Not one space was seen in isolation and the strategy was based on various lighting diagrams and topographies developed especially for the project – taking care of the natural environment and the benefit of the whole community. Taking a total of two years to complete, support from the client Jadranka Hotels was constant from the very beginning to

the very end - even down to the smallest of details meaning Skira's initial design ideas could be realised as imagined. Privately funded, the 2.3km long promenade at Čikat Bay has been carefully reconstructed and fitted with random effect, discreet lighting where visitors can take long, romantic strolls across the inviting pattern, installed directly to the stone pathway where the shadows and lights from the surrounding greenery give way to the architecture. “The main challenge for us was, as usual, the budget,” said Dean Skira of Skira architectural lighting design practice. “Fortunately as we had contact with the

client the entire time, we were able to explain the benefits of quality design by using high-end products – considering not only aesthetics but energy savings, longterm maintenance, the local climate, seasonal changes and so on. “The client realised that our presence on site was absolutely necessary as the

contractor was not familiar with most of the technology and control systems we had used. We adopted a strict and professional approach towards all parties involved in order to keep tight control over the entire process. By the end of the project we were managing 157 electricians in order to complete the work properly and on time.”

Medusa, the marine lighting project within Čikat Bay, required the lighting designers to take an artistic approach to the general lighting - highlighting an underwater network of luminous sculptures. This installation is rectilinearly connected to the main entrance of the hotel and dominates over the coastal terrace as a

visual highlight for guests and an act of the unexpected sight, following the central principal plateau. The idea was to create a portal of light with ten-metre high, specially designed poles, inspired by pen shells. These poles are connected with the main jellyfish hub with thin LED lines. Positioning and connecting was a very challenging and

technically demanding part of the project as the line is continuously integrated into the poles, floor and steps, creating visual connection between luminous underwater streams, physically ending in the jellyfish hub. Medusa is an 80cm wide globe, illuminated with a fibre optics system of 200 luminous

tentacles connected to it. The 60kg jellyfish hub is anchored to the sea floor and secured against tidal force and poor weather conditions, which while rare, are possible. The inviting and intriguing, magical but not deceptive design of Medusa is embedded into the seacoast and is a pleasant sight during the day as well. Underwater streams

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are made of light fibre optic cables with 20 illuminators and fourteen decorative submarine fixtures. They also radiate constantly changing light, which follows the sea current. Harmonised with the light from the shore this creates an unforgettable picture, an underwater visual experience for divers and spectacular attraction for the viewers. The entire system works on 24V with the power adaptors positioned inside the panel room located about 80m away from the longest illuminator. The entire maritime project is a bespoke luminous installation which took six months to manufacture and two months to install with a professional team of divers, technicians, builders and engineers, closely followed by Dean Skira's overview and his close team of supervisors. “Installing the jellyfish installation was a serious engineering venture since all of it was done for the first time and we needed survey engineers to position the exact location via laser instruments under the

water,” said Skira. “Divers had to drill the anchors into the sea floor and then fiber optic cables were laid down and the jelly fish were anchored to the sea floor, so most of the work was done under water. “We ourselves, put diving suits on to control the work right there on site. I must say it was quite fun, even if we did have the jitters as to whether it would all work in the end. Because of this, it was definitely our most challenging project so far. “Added to this was the strip light that follows the massive steps going into the water, each step was made of solid stone with approximately 500kg to one tonne that had to be put into place right next to the strip light housings. The light itself was cut to millimetre precision to follow the form of the steps exactly. “The rest of the public lighting was also challenging as I wanted to focus the reflectors to a precise location by creating a moonlight effect and shadowing of the branches onto the beach,” continued Skira.

Previous Page Arpool underwater fixtures from Filix and Albero decorative iGuzzini fixtures were used to bring the outdoor pool space to life. Left Decorative and architectural lighting work together for the interior at Cikat Bay, including Origami wall fixtures from Vibia and Pop recessed spotlights from Oty Light. Top Right Fixtures used in the indoor pool area include iRound from iGuzzini, Arpool Filix underwater fixtures, and Linealuce iGuzzini strips. Right In the fitness suite Kaleido from Slide brings dramatic decoration to the space.

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“The poles are seven-metres high, so there was no possibility of bringing lifts to adjust the reflectors so I ended up climbing on each one of the poles and adjusting them single handedly… All 100 pieces!” The key lighting consideration on this project was for Skira to create a balance between interior and exterior lighting, between private and public areas. To create an atmosphere where the visual horizontal is full of light vertically and horizontally, but without seeing the light source or fixtures. In order to create an image of the bay that draws people at night to walk around and enjoy the landscape and the sea, a romantic atmosphere was desired throughout. Skira achieved this by considering the rhythm, postures and pauses of light, by illuminating everything that creates interest to the visitor during the daytime; the trees, waves, sea floor and so on. The simple pier became a gathering place and soon afterwards a lounge bar, because everyone wanted to be there at night. Decorative luminus five-

metre high poppies became a meeting point and another unexpected scene in the public pathway. “We wanted to extend the visible field so that all architectural or landscape elements are present at night and provide a nocturnal picture that is unique to all visitors,” said Skira. In terms of natural lighting, Skira lighting design implemented a control system programmed to take into consideration the strong influence of daylight in some areas and practically no daylight in others. “Finding the right balance was a timeconsuming process since we were directly involved in the programming of all scenes in all interiors and exteriors, for all buildings in the bay,” continued Skira. “This was a very unique and specific project for us and I believe it would be for any lighting designer as it was extremely complex. This lies in its many different architectural typologies that vary from 19th Century up to contemporary style.

The architectural lighting project consists of a grand hotel, exclusive boutique hotel, two commercial villas, five private villas, connected green areas, public roads, driveways, a water park and promenade. In total, an area of 162,082m² has been illuminated (public space 16,230m², exteriors 87,596m², interiors 58.256m²), with the architectural lighting based on a holistic and methodical approach from the very early design stage.

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“Defining the connection between private and public areas, where most of the time there was no clear division, also made this project unique; seasonal changes in landscape and density of the visitors were also considerations when we made energy saving plans. In the winter almost 90% of the system is automatically shut down, then in the summer months there is a change of scene after midnight and then again after 2am and so on. “Maintenance was a big issue in this project because there was a large number of lighting fixtures to deal with, this made fluid, seamless scenes between all the variations extremely challenging.” The Bellevue hotel at Čikat Bay was an existing structure that was partially changed to include two new floors. As part of this, and when considering the lighting scheme, the main structural elements needed to stay intact and so it was important Skira worked around them to create new spaces and install all HVAC, water and other infrastructure, which was very present yet invisible. The lighting needed to work around all of the constraints while still achieving the final intended result. “I believe that our strongest force in realising this project was the creative

approach that fell on a fertile ground of an enthusiastic investor who cared deeply about the project and is not about speculative short-term return investment,” said Skira. “Our presence with great energy and enthusiasm was transferred to all involved even the stonemasons and electricians. Everyone wanted to be part of this unusual story.” The important elements of this project mostly lie in Skira’s personal approach towards all stages from sketches until the last switch was turned on. “We practically lived on the island for two summers and worked for two years without a vacation to accomplish and realise everything we had planned,” concluded Skira. “In my opinion this is a very unique project.” www.skira.lighting

Top Left Neutron spotlights by Flos, Albero and decorative lighting elements from iGuzzini light up the entrance way. Left Lun-up fixtures by iGuzzini also features in the entrance way. Top Right Trick fixtures by iGuzzini illuminate the outside of the villas, while Lanterna Massima fixtures by Viabizzuno add a slight decorative element. Bottom Left & Right Laserblade fixtures from iGuzzini are combined with the Luna Piena fixture from Catellani & Smith and Tripode from Santa & Cole.

PROJECT DETAILS Čikat Bay, Mali Losinj, Croatia Client: Jadranka Hotels Architect: Andrija Rusan, Rusan Arhitektura (Bellevue and promenade) Amira Čauševic, Arta projecting (Boutique hotel Alhambra) Lighting Design: SKIRA

LIGHTING SPECIFIED Lighting Suppliers: Ares: Alfia, Alice, Trixie, Vicenza fixtures Artemide Fenice, Robbia, Tolomeo, Talak fixtures AXIS71 S71 fixtures Axo Light Skin, Spillray fixtures Catellani & Smith Pepita, Stchu-moon, Luna Piena fixtures Delta Light Logic, Tactic fixtures DelightFULL Coltrane fixtures Fabbian Beluga fixtures Flos Clessidra, Ktribe, IC, Superarchimoon, Belvedere, Neutron, Giano, Easy Kap, Stelth, Box, G-O fixtures Foscarini Twiggy, Birdie, Cage, Lumiere, Gregg, Pipe, Tress stilo fixtures iGuzzini Underscore, Trick, Lun-up, Laser Blade, Light up, Maxy Woody, Systema Easy, Pixel Pro, iPro, Pencil fixtures Ilmas Eco Point, Hammer Mini, Point LED fixtures LAM32 bespoke products: Jellyfish, Poles, Line, Microline; Profile 2 OTY Light Pop, Box fixtures Panzeri Ralph, Lampyris fixtures Prandina Notte fixtures Studio Italia Kelly Cluster fixtures Viabizzuno Lucus, Maxxy Poppy, Lanterna, Mon Amour fixtures Vibia Wireflow, Rhythm, Origami fixtures Terzani Mizu fixtures XAL Invisible, Vela fixtures

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SMOKE AND MIRRORS Highlighting the historic significance of the building's interior architecture, vogtpartner's lighting scheme combines the adaptability of modern technology and the illusionary power of colour at the Hannover Congress Centre in Germany.

Pics: Frank Aussieker

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To draw focus to the vast ceiling, acoustical components above the stage area have been removed. Suspended above the stage, freely arranged custom pendant luminaires from Hagenauer create the impression of a transparent 'light cloud'. The luminaires can be lowered or raised as a group and are dimmable. Their highly specular surface reflects surrounding colours, making them almost invisible.

Courtesy of lighting design engineers vogtpartner

The Hannover Congress Centre, together with its architects WoelkWikens Architekten BDA DWB, created a competition to which they invited six lighting design firms. After careful deliberation, Swiss lighting design studio vogtpartner won the competition. Following this, the lighting of the Hannover Congress Centre was completely redesigned as part of the overall renovation of the building, which was inaugurated in April 2016 by German Chancellor Angela Merkel accompanied by US President Barak Obama. The new lighting design allows for greater flexibility in the use of the hall for both small and large venues and contributes to an entirely new experience of the space. “The vastness of the historical space and

having to create an atmosphere that did this historical space justice made this project different from others,’’ commented leading lighting designer on the project, Matthias Wilcken-Frey. There were many demands presented to vogtpartner in the brief, but the most crucial one, expressed by artists themselves, was to make the enormous space feel smaller, for smaller events. “Artists don’t like to perform in venues when the upper levels are completely empty,’’ said Wilcken-Frey. The speed with which the project and the entire interior renovations took place meant that the hall remained a construction site, filled with scaffolding, throughout the renovations. Therefore vogtpartner

weren’t able to test its conceptual ideas on site. The only way around this was to do some tests at different locations and in simulations. With the removal of former acoustical components above the stage area, the entire ceiling becomes more noticeable. Suspended above the stage are now freely arranged pendant luminaires that evoke the image of a transparent 'light cloud'. The luminaires can be lowered or raised as a group and are dimmable. Their highly specular surface reflects surrounding colours, making them almost invisible. Audio requirements were fulfilled by suspending the necessary audio components between the pendant luminaires, integrating them perfectly in the light

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Previous page The seven historical chandeliers, each consisting of over 1,000 crystal elements, used to supply the hall wih general ambient lighting. This role has now been taken over by newly installed Zumtobel Cardan R1 LED downlights. Left The folded surface material of the stage backdrop is grazed with a gradient light that can change to any colour, created by Waldmann Mach LED Plus floor-mounted RGBW luminaires. Below Carved reliefs, such as the zodiac signs, which had been walled up for decades, have been exposed on upper-level walls and accentuated with precise, focused light from Zumtobel Iyon M LED surface-mounted luminaires.

cloud. Additionally, the pendants are equipped with indirect light sources to brighten the ceiling above the stage. The folded surface material of the stage backdrop is grazed with a gradient light that can change to any colour, including a glowing white. A perception of depth is consequently evoked in the beautiful background. The row of architecturally pronounced pillars can likewise be highlighted with either white or coloured light, bringing an additional, working layer of light to the overall lighting composition. Carved reliefs, such as the zodiac signs

and the so-called 'light goddess', which had been walled up for decades, have again been exposed on upper-level walls and accentuated with precise, focused light. These sculptured, historical reliefs complement the overall ambience, becoming festive, architectural elements that re-tell the historical origins of the building. With the performers in mind, the vogtpartner team wanted to prevent the sense of emptiness when upper level seats were unoccupied. They thus installed blue linear LEDs to create, at the right

luminance level, a transparent curtain of radiant blue, reducing dimensionality and making the hall feel smaller and more intimate. Dimmable, brilliant light points that were added to the upper level railing frame the setting and add a festive ambience, especially for gala balls. “The lighting for such events is different than for larger ones, as it’s different for gala balls, classical concerts, rock concerts or assemblies. Therefore the right lighting had to be flexible lighting,’’ explained Wilcken-Frey.

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The sculptured 'light goddess' is illuminated by precise, focused light from Zumtobel Iyon M LED surface-mounted luminaires, complementing the overall ambience and highlighting the architectural elements that re-tell the historical origins of the building. Also, the architecturally pronounced pillars can be highlighted with either white or coloured light, created by Waldmann Mach LED Plus floor-mounted RGBW luminaires, bringing an additional, working layer of light to the overall lighting composition.

The seven historical chandeliers, each consisting of over 1,000 crystal elements, used to supply the hall with general ambient lighting. This role has now been taken over by newly installed down lights in the dome ceiling, allowing the restored chandeliers with their brilliant, sparkling points of light to act as decorative lighting creating a festive ambience. The open ceiling in the middle of the hall is now illuminated with the soft glow of a twilight sky, giving the room a positive connection to the space above. This soft glow of blue above reminds visitors of the hallâ&#x20AC;&#x2122;s original cupola, now walled up, and thus builds a bridge from the present to the past. The new lighting system is equipped with energy efficient LED technology. Special converters allow light level adjustments

down to 0.1%, yet still guarantee flickerfree HD filming without shifts of colour. With the help of a lighting control system, different lighting moods can be easily programmed and realised depending on the occasion and use of the hall. In total, more than 400 new luminaires were installed in the context of the renovation; all of which are 360Â° glare-free. The maximum connected load (excluding the large pendants) now lies at approximately 14kW. This translates into a reduction in connected load of around 16% with over a twofold increase in light intensity. The use of modern LED technology and custom fixtures has allowed vogtpartner to develop a scheme that is adaptable to fit purpose while highlighting the historic significance of the building's interior architecture. www.vogtpartner.eu

PROJECT DETAILS Hannover Congress Centre, Hannover, Germany Client: Hannover Congress Centre Architects: Woelk-Wikens Architekten BDA DWB Lighting Design: lighting design engineers vogtpartner

LIGHTING SPECIFIED Hatec custom-made pearl LED surface-mounted luminaires Hagenauer, custom-made, LED, direct-indirect pendant luminaires Waldmann Mach LED Plus floor-mounted RGBW lumininares Waldmann Mach LED Plus blau 1000 surface-mounted linear luminaires Waldmann Mach LED Plus, Blue LED, surface mounted linear luminaires Zumtobel LDO LEDRAY LED linear luminaires Zumtobel Iyon M LED surface-mounted luminaire Zumtobel Arcos WW LED wall-mounted luminaires Zumtobel, Diamo, LED, wall mounted luminaires Zumtobel Cardan R1 LED downlights

Linic NX - Free Lines for Individualists Light should follow the architecture and functionality requirements. The new Linic NX provides different light modules for a variety of geometries: selectable lengths, 90° angles, cross and T-figures and transitions from ceiling to wall. The result is a variety of combination, allowing quick and safe planning with the WILA web-based configurator. More details can be found during the light+building on our homepage www.wila.com @WILA_lighting #TrustWILA

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SUBTERRANEAN TRAINING Working with a hands-on approach alongside architects Atelierdb, Hoare Lea Lighting's scheme showcases the transformative power of the lighting designer at Virgin Active's Walbrook Health Club in London.

Pics: Redshift

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Hoare Lea Lighting was commissioned by Virgin Active to provide the lighting solution for its new Walbrook Health Club in London. Virgin Active wanted to understand how a lighting designer could transform its spaces. They wished to develop its premium Collection brand and recognised the importance of the lighting working with the architecture to achieve this. “Over a number of meetings we got to know Virgin Active and they got to know us, and our understanding of an integrated, architectural approach and atmospheric appeal,’’ said Chris Fox, Senior Designer, Hoare Lea Lighting. “It was a learning experience for all and we really got into

the DNA of the Virgin Active brand. It was refreshing to start from base lighting design principles and build upwards.’’ The club is located on the ground and basement floors of the Walbrook Building, a landmark development in the City of London. The 2,300m2 (24,500ft2) floorplate provides lounge facilities, a large gym floor, studios, and luxurious changing areas with access to a spa centre, incorporating a sauna, steam and salt rooms. With a brief to adopt a fresh, integrated architectural approach, the scheme forms an important part of the visitor experience. Throughout the club, lighting details complement the high-end interior design.

Left hand page The club's feature staircase is illuminated by Optelma's Mini Profile, with close pitch LED light source. Also, acdc Pro Evo downlights and Lightworks Step 6.2 floor washers guide members down the various corridors. Top Optelma Quad 100 lines of light provide a bright clean environment, while acdc Pro Evo downlights and Light Graphix LD47 floor washers guide members into the changing rooms. Above left and right Optelma Drad profile washes a wooden slat wall on the way into the lounge area, while acdc Orelle cove light adds to ceiling glow.

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Left acdc Arena + downlights provide light to the sinks, along with Optelma Drad profiles behind the frosted glass of the mirror joinery. Below acdc Arena + Tilt washlights illuminate the changing room's lockers, while acdc Pro Evo adjustable downlights and Light Graphix LD47 floor washers glint off the mosaic-tiled curved walls.

“The client was keen to move the design integration forward and lighting was high on the agenda,’’ explained Fox. “We approached the design conceptually to begin with, and played up the visual contrast between the spa and main gym floor spaces. I wanted to push the difference between the muted, tranquil atmosphere of the spa and changing rooms, using low-level, low glare and warm colour temperature sources. Then pump up the visual intent of the main gym floor with bold, dynamic lines of light, and cooler colour temperatures.’’ Hoare Lea Lighting worked with architects Atelierdb to create an all-LED design, to reflect the contemporary luxury of Virgin Active’s Collection brand.

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Above acdc Arena + small downlights illuminate the lounge area's feature wall along with Deltalight Rio 2 twin gimbal downlights. Left Optelma Quad 46 suspended lines of light and acdc Orelle cove provide a clean, bright light to the Club's class studios.

To give it prominence, the reception desk features leather clad front panels, with an integrated line of light, created by Optelma’s Firo, picking out the texture of the material. XAL's Tula Micro narrow, cylindrical feature pendants are suspended above the desk. These provide illumination to the worktop, adding interest and breaking up the space. A feature staircase leads from the reception to the lowerground floor, with integrated lighting adding a sense of theatre. The changing rooms and spa are lit to a lower level than other areas of the club. This combines indirect and hidden sources, and a colour temperature of 3,000K, to create a warm, relaxing, luxurious atmosphere, which contrasts with the fresh, more dynamic 4,000K of the main gym. Indirect sources, such as feature-point

Arena Tilt wall washers and sporadic lowglare ProEvo spotlights from acdc create an atmospheric gateway to the spa. Within the spacious changing rooms, integrated lighting elements enhance the high-end feel. These include Mini Profiles from Optelma incorporated into showers and behind the etched glass vanity units. This profile is also integrated beneath the vanity units, bathing the table tops with light, adding glamour and complementing the clean palette of grey plank tiling, marble and timber finishes. In the main open-plan cardio and weights studio, a series of Optelma Quad linear LED profiles provide suspended lines of light. Combined with suspended disks of light provided by Optelma’s Laxa, these create a false ceiling beneath the exposed services. Recessed lines of light in the weights zone

complement the main cardio area, creating a light, airy and inspiring space. Continuing on to the walkway through the gym, the weights and mezzanine level is lit by a continuous 40m of Optelma's Quad 55 recessed line-of-light, which turns through 90° to follow the walkway through the studio and into a corridor framed with further profiles. Within the corridor, linesof-light run up each wall, meeting the line of light that runs across the ceiling - a visual feature that accentuates the ‘shrinking’ height of the corridor. The lounge/café area is also lit with a warmer 3,000K colour temperature. The relaxing, hospitality feel is accentuated by integrated lighting elements. acdc's Orelle light cove provides soft background lighting, while Deltalight’s twin gimbal spotlights pick out the café zone, and a hidden line of

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Left KKDC LiNi Glow XL lines of light and mirror RGB fixture by contractor bathe 'the grid' in crips light. Below rows of Optelma Quad 100 recessed lines of light povide functional light to one of the gym's many free weight rooms.

light highlights the coffee point. Positioned on low tables, task lights by Louis Poulsen give member’s individual control, adding a domestic feel. acdc's Arena small, low-glare light points highlight the picture wall, while a line of pendants provide illumination over the desks. The design of the pendants is echoed in the floor lights located in the soft seating area. David Bell, Director, Aterlierdb commented: “The lighting design across all areas of the club enriches the functional use of each space dramatically, with darker zones helping to calm, and brighter areas with stronger fittings helping to add energy for members.’’ Tim Carter, Virgin Active Brand Director added: “The solution we developed with Hoare Lea Lighting has helped us create a luxe space that is a true oasis of exercise and wellness. It adds to the stand out experience that members can expect when they visit one of our Collection clubs.’’ Fox concluded: “It’s been exciting to work with the client and architect in such a hands-on way. It was clear that the wellconsidered lighting solution had made a significant difference.’’ www.atelierdb.com www.hoarelealighting.com

PROJECT DETAILS Virgin Active Health Club, Walbrook, London Client: Virgin Active Architect: Atelierdb Architecture + Interiors Lighting Design: Hoare Lea Lighting

LIGHTING SPECIFIED acdc Azeta spotlights acdc Arena Tilt wall washers acdc Arena Small wall washers acdc Pro Evo spotlights acdc Orelle light coves Deltalight Rio 2 twin gimbal spotlights KKDC LiNi Glow XL lines of light Light Graphix LD47 floor washers Lightworks Step 6.2 floor washers Louis Poulsen AJ Floor/Table lamps Optelma Drad linear LED profiles Optelma Firo integrated light lines Optelma Mini Profile linear LED profiles Optelma Laxa suspended ceiling luminaires Optlema Quad 46 / Quad 55 / Quad 100 linear LEDs XAL Tula Micro pendants

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The lighting of Studio City carries part of the property’s marketing message in which the themed identity is vital. The lighting must help the property exert a strong pull; it must promote drama and curiosity at first sight and then create a grand sense of arrival.

HOLLYWOOD GLAMOUR illumination Physics was chosen as the sole lighting designer and supplier for the façade of the grand Studio City resort in Macau. With nods to Hollywood glamour and the era of Art Deco, the lighting aims to engage with its surroundings while offering dramatic, eye-catching effects.

Studio City Macau is a Hollywood-themed resort offering a cinematic inspired entertainment and leisure experience, never before seen on the Cotai Strip in Macau. It is the second property owned by Melco-Crown Entertainment after City of Dreams and was awarded Casino / Integrated Resort of the Year by the ninth International Gaming Awards (IGA) for 2016. Studio City carries the strongest entertainment theming of any resort in Macau and the movie theatre vision is carried throughout every part of the building. Therefore the façade lighting is necessarily theatrical in style and reinforces the remarkable elements of the building. Selected as lighting designer for the entire façade, illumination Physics was responsible for the design, manufacture, supply, install and programming of all the lighting used. There is a strong art deco influence throughout, in particular the eight decorated turrets that sit atop the eight hotel towers - highlighted through the lighting. However, your eye is first drawn to another feature - the two hotel towers curve to form a semi-circle and are connected via a massive figure of eight formed in golden truss, 30 storeys high. At

this point the building is transparently open and there is no structure within the eight; it is open from both the east and west. Within the 'eight' sits the 'Golden Reel' ferris wheel, featuring seventeen themed capsules that take riders 130-metres off the ground, illuminated in golden light, made possible by 1,000 pieces of illumination Physics’ CR80 mini wash light. Above and below the Golden Reel there are Starbursts; metal fingers radiating both up and downwards in two giant fans, brought to life with the illumination Physics Wash 36 RGBA. Attention to detail demanded that the fixtures were finished in metallic gold to match the structure of the Golden Reel. At the very summit of the building, ten shards of steel stretch skyward like the fingers of a hand. These have been illuminated and have become a nightly feature. Wash lighting alone didn't get the separation and contrast illumination Physics wanted and would have resulted in a great deal of light spill into the sky. Instead the team produced just ten pieces of a very special direct view custom fixture – the IP Super Dot, one of which was placed on the very end of each finger of the Starburst. Designed with a lens shaped

like a mushroom, the PMMA lens has an internal reflector to direct 100% of the light downwards and in 360º. Visible from any viewpoint without any upward light trespass, the Super Dot is intensely bright and used RGBA to match all of the fixtures on the hotel towers. It was vital that Studio City's lighting helped the property exert a strong pull, while promoting drama and curiosity along with a grand sense of arrival. In the words of Lawrence Ho, CEO and Chairman of Melco International, the objective was not to be the largest property on the Cotai Strip, but the coolest. Yet it must do all of this in a more sophisticated way than its many competitors in Macau. The design strikes a balance between grand spectacle and relative restraint in the programming of the dynamic lighting. The ‘show’ is provided by the towers whilst the podium only uses dynamic lighting for six powerful searchlights. The podium façades make use of warm white with the added use of neutral white when contrast is required. For example the two massive 'Hero'ç statues that stand above the gates of the grand entrance make use of the cooler colour temperature, better accentuating

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their polished metal skin - a mix of IP Wash 36 and IP Wash 48s were used with various beam angles and a total of 72 pieces were used on each of the statues. The towers have two main façades, both east and west appropriately, and the lighting is mirrored on both. Above the podium every one of the 5,000 illumination Physics LED light fixtures makes use of dynamic colour changing. All of the IP Wash 48, Wash 36 and IP Linear Wash lights used to uplight the tower façades are RGBA. This not only enables the tower to match the mono white colours of the podium at times, but the display of true gold and other hues that would otherwise be impossible to achieve. Surrounding the Golden Reel is a media façade containing 3,008 IP Media Dots especially designed for this project. Access to the media wall area for maintenance is possible but requires the use of three separate Building Management Units (gondolas lowered from above). To be mindful of this the IP Media Dots were designed with no electronics on board and each has its own dedicated extra low voltage cable. By simplifying the Media Dot it is made robust and the single cable per fixture means that if one IP Media Dot is damaged, the problem only affects that item.

The media wall draws the eye to the centre of the building and provides movement and meaning in the lighting that is synonymous with the early incandescent casino lighting in Las Vegas, Nevada. The media walls add another level of capability in that video graphic content is used to support notional concepts in the lighting shows. Searchlights are synonymous with a Hollywood movie debut and Studio City would be incomplete without them. Six searchlights rake the sky above the main entrance of Studio City every night. The lighting not only makes a statement about the character and theme of the property but can also be seen from all its competitor’s premises. There are many other searchlights located at other casinos in the area, all of which are installed at rooftop level. At Studio City the searchlights are deliberately positioned at podium level where they have greater visual impact. The towers are clad in a complex metal decorative structure that cleverly camouflages the curtain wall system within. The building’s texture does not resemble the typical assembly of rectangular panels of a modern unitised curtain wall building, instead the eye is drawn to a filigree of art-deco diagonals and cascading buttresses – the language of the 1920’s and 1930’s.

Much has been made of the façades and the lighting is designed to celebrate that. To maintain the grand illusion the façade required wash lights, but this presented several challenges. The towers contain two hotels so light trespass into the guestrooms needed to be avoided. The lights would have to point upwards to provide an effect true to the theme, but this could lead to light pollution unless surgical accuracy could be achieved. The wash lights themselves also had certain practical limits to their dimensions from an aesthetic perspective because they would need to be mounted at two levels on the façade itself as well as the podium roof. A new fixture design was required and so illumination Physics created the IP Wash 48, a high power narrow focus RGBA wash light. At approximately 100W and equipped with 5º lenses, the Wash 48 has an effective range of approximately 50-metres when used as a shallow angle grazing wash light. There are four cascading buttresses, which extend from the roof level of each of the eight hotel towers, 32 in all. The IP Wash 48 has been mounted in groups of up to six lights at the podium level, four lights at mid-height on the façade, then finally in groups of as few as two fixtures at the highest level. The lighting follows the

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architecture and with the accuracy of the 5º focus, light trespass has been avoided. Light pollution has also been minimised by aiming the beams of light in such a way that they are terminated into the building surface, which itself is not specular. Because access to the 280 Wash 48s on the façade requires a gondola, it was decided that the drivers would not be integrated into the fixtures. Like the Media Dots, the IP Wash 48 is distilled to its simplest form, metal and LEDs. The electronic drivers are located remotely in easily accessible locations within the building. The same illumination technique has been employed on the eight turrets that sit atop each hotel tower, however in this case a standard illumination Physics Linear Wash light was suitable and because the light fixtures are accessible by pedestrian technicians, the AC version of IP Linear Wash was used to simplify the power and data distribution. The design of the building may harken to early 20th century themes but it was constructed using modern unitised and nonunitised construction techniques. At night, the stark textures are exploited to create drama and highlight areas such as the Bussing Grove (where the majority of guests arrive), so that they are consistent with the character of the more deliberately

decorative features of the property. Early in the lighting design it became obvious that the extensive use of backlit faux alabaster panels would require a large quantity of linear LED wash lights. At Studio City there were very large, internally illuminated panels necessitating the use of a high power edge light, using asymmetric lenses such as IP SHPT. However there are hundreds of other backlit panels at Studio City which are of more modest dimensions, typically a little less than two metres in width. The quantity was so significant that the team questioned the use of such a high performing and high cost fixture as they were responsible for managing a budget. Exploring their options made it clear that a low power LED linear product would not produce the light needed and because of the size of the average SMD chips, lensing the beam would be very problematic. This lead to two technical breakthroughs that enabled illumination Physics to create a new product called ‘LPSL’ (‘low power strip linear’). LPSL takes advantage of a new generation of LEDs that are neither low power nor high power, but something in between. LPSL LEDs can be driven at 0.25 to 0.50 of a watt. Their typical high power linear products use LEDs driven at 1-2W but for the majority of

Left Searchlights are synonymous with a Hollywood movie debut and Studio City would be incomplete without them. Six searchlights rake the sky above the main entrance of Studio City every night and draw attention to the coolest destination in Macau. Right The podium façades make use of warm white with the added use of neutral white when contrast is required. For example the two massive ‘Hero’ statues that stand above the gates of the grand entrance make use of the cooler colour temperature, which better accentuates their polished metal skin. A mix of IP Wash 36 and IP Wash 48s were used with various beam angles. A total of 72 pieces were used on each of the statues.

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back-lighting at Studio City the amount of lumens generated by the newly coined ‘midpower’ LEDs is sufficient. illumination Physics had to figure out how to focus the light given the larger size of the LED dies. The solution came in the form of a unique optical design that concentrates the native 120º symmetrical beam of the SMD LED into a highly functional 15 x 60º focus. The net result for the client was that illumination Physics halved the cost of 1,500 pieces of linear back-lighting without sacrificing functionality or quality. More than half the potential energy was also saved. The illumination Physics team also faced many challenges with the control system for Studio City. Not only did it need to be robust yet flexible, it had to control both the media wall and the façade lighting, ensuring both were perfectly synchronised. This required that a media server and a lighting ‘PC based console’ be married together. The control system had to be self-sufficient in terms of scheduling but able to be easily adjusted when the need arises. Macau, like Hong Kong and much of Asia has many festivals that require special seasonal or one-off lighting treatments. Although the lighting rig is large and complex, the operation of the system had to be straightforward enough that modifications to the lighting programs and schedules would be user friendly to the owner’s technical staff. The system wiring was an optical fibre backbone that went to the majority of the 22 dedicated lighting control rooms in which the equipment was installed in dedicated racks. The lighting protocol that was chosen was sACN (streaming Architecture for

Control Networks). The LSC ‘Clarity PC’ was chosen for overall control. All of the lighting fixtures and media servers (in console mode) were distributed over seventeen Universes of sACN. Clarity was chosen for its proven reliability as much as for its advanced functions. For this project, the time/date scheduling functionality was extremely important. All of the cues originate from Clarity to control both the lighting and media systems. Coolux's Pandora’s Box was chosen as the media server to control the media wall’s 3,008 pixels through its pixel mapping software. Run in console mode to provide parameter control via ‘Clarity PC’. Having built the lighting system, the success of the project then depended on how it was employed. The creative choices concerning the programming of the lighting and the content that would be created for the media walls needed to be emotionally evocative and create maximum visual impact. Working with Melco-Crown creative director Geoff Benham, illumination Physics created a library of lighting scenes that were synchronised with related content for the media walls. Using remote internet control, live tests and programming sessions were conducted from a variety of viewing points. Studio City stands tall in Asia’s gaming hub; the lighting is dramatic but represents a step in sophistication and technology in Macau. The façade lighting of Studio City has been a single all-encompassing project for illumination Physics, from concept to completion. www.illuminationphysics.com

PROJECT DETAILS Studio City, Macau, China Client: Melco-Crown Entertainment Façade Lighting Design: illumination Physics

LIGHTING SPECIFIED Illumination Physics: 3008 x 8W Media Dot RGBA 300 x CL180 WW downlight 972 x CR80 VWW LED spot 254 x DMX RDM Driver Dimmer 48 24V 30 x INSS26 led Uplight WW 540 x INSS56 VWW 633m LED Strip & Ribbon 8 x Linear Vario 180 NW HP LED 51 x Linear Vario 180 WW HP LED 92 x Linear Vario 990 VWW HP LED 37 x Linear Wash 1,000mm WW AC HP LED 30 x Linear Wash 500mm WW AC HP LED 448 x Linear Wash Rebel 1000mm RGBA AC HP LED 48 x Linear Wash Rebel 1000mm WW HP LED 256 x Linear Wash Rebel 500mm RGBA AC HP LED 26 x LPSL Linear LED Strip 12W White (0.5 m) MP LED 1473 psc LPSL Linear LED Strip 12W White (1.0 m) MP led – illumination Physics 46 x Rebel Drum 12 WW inground LED 37 x Rebel Drum 18 WW inground LED 16 x Rebel Drum 36 NW inground LED 60 x Rebel Drum 36 WW inground LED 110 x SHPT 24 LED White 990 WWHP 10 x Super Dots led RGBA 48 x Wash 36 AC Rebel NW LED washlight 166 x Wash 36 AC Rebel RGBA LED washlight 228 x Wash 36 AC Rebel WW LED washlight 6 x Wash 48 NW SUPERSPOT LED washlight 280 x Wash 48 RGBA LED washlight 68 x Wash 48 VWW/NW LED washlight 14 x XHP180 LED Visual Productions: CueCore playback controller A&O: 6 x Search light 7K Falcon Beam White Coolux: 2 x Pandora Box Player Pro Clarity 4096 Channel Dongle - LSC Pandora Box Server - Dell Clarity Server - Dell Watchguard XTM33 Firewall Platform (& tray) X / Key USB Rack Swith Pathway: 10 x Pathport Quattro; 4 x Pathport Octo; Illumination Physics: 8 x DD6 Data Splitters

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INDUSTRIAL THEATRICALITY Combining the magic of history with the robustness of industrial design, Lightemotion's lighting scheme at the Train World railway museum in Brussels, Belgium utilises the height of the space and theatrical lighting techniques to tell a story of the locomotive.

Pics: Marie-Franรงoise Plissart

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Top Lumenpulse Lumenbeam Medium LED projectors illuminate the Schaerbeek Station - a Belgian railway architectural jewel in 3,000K. Above Left At 4°, iGuzzini Tecnica AR111 track mounted-spotlights highlight many of the museum's artefacts. Above Right Custom LEDs integrated in to the model provide lighting to the tiny train tracks and streets, while Philips Color Kinetics grazers backlight the cloudscape.

Train World, the new Belgian railway museum, opened on 25 September 2015 after ten years of work and an investment of €25m. Montreal-based independent lighting consultancy Lightemotion was tasked with the lighting of this past, present and future railway showcase, which exhibits the most beautiful original pieces of the country’s historical collection. Scenography, designed by the Belgian artist François Schuiten and architect-designers Expoduo plunges visitors into a true multisensory and theatrical universe. The staging of spaces and objects had to be supported by an exclusive lighting layout.

Schuiten and Expoduo brought Lightemotion into the project early on, making the lighting design an integral part of the project from the beginning. This is why the lighting is at one with all the other parts of the museum. “Our introduction to the client, EuroStation, was made through Francois Schuiten, the artistic director / scenographer behind Trainworld,’’ explained Francois Roupinian, President, Design Director at Lightemotion. “Schuiten had heard about us through our international museum work, particularly our designs for the Turin Automobile Museum and Barolo Wine Museum, both in Italy. I

think he saw something in our approach to those projects that he wanted to explore with Trainworld.’’ Lightemotion had to use architectural lighting equipment and integration techniques to create the effects that are typically expected in theatrical or museum settings. In addition, the team faced the challenge and opportunity to merge its experience in thematic environments and museums with its large scale architectural work. “We began with the idea that we would paint with light – illuminating and revealing the spirit of the massive steel railway cars

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Top ETC Source Four HID profiles equipped with Rosco dichroic filters and Lumenpulse Lumenbeam Large LED projectors at 3,500K are mounted from the museum's 20-metre high ceiling, highlighting the Pays de Waes with both theatrical and architectal lighting effects. Above Left The same effects achieved by the Rosco dichroic filters are combined with gobo stencils, adding drama to the space. Above Right More artefacts highlighted by iGuzzini's Tecnica AR111 track-mounted spotlights.

and engines as well as the details of the smallest, most delicate artefacts – just like you would illuminate an actor on a stage,’’ explained Roupinian. In the end, all of the museum artefacts are lit like actors, and their stage is the scenography and architectural backdrop of the museum. Schuiten requested a very theatrical and immersive lighting design approach, to help tell the story throughout all the different galleries, creating a distinct feeling or environment in each, while being coherent as a whole. At the same time, the project needed to be very rigorous, as it had to

function as a permanent architectural lighting installation. To link the galleries and reinforce its understanding as a whole, Lightemotion created a dynamic program that allows the light to evolve along a timeline. The ambiance of each gallery is always subtly moving, slowly changing like time passing. Given that the trains are such strong, industrial objects of steel, the movement of light brings them to life in ways that complement the artistic direction of the exhibit. “From a dramatic beam of light to the play of light and shadow, the lighting environment guides visitors through the

story,’’ added Roupinian, “or, as François Schuiten would say, through “un opéra ferroviare”.’’ The first act of this ‘opera of the train’ starts in Schaerbeek Station - a Belgian railway architectural jewel and one of the oldest stations in the country, located in the heart of Europe, constructed on the first rail track of the continent linking Brussels and Mechelen. It is now connected to a new industrial hangar via the railway garden. This 86,000sqft hangar contains four exhibition halls where guests can admire several locomotives, including the Pays de Waes - the oldest preserved steam

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To address the ceiling height, metal halide ETC profiles were used. However, because they’re not dimmable, Lightemotion had to do a lot of mockups to find the ideal filters to tint and reduce the light levels on the trains, in order to create the theatricality required. Therefore the team equipped ETC's Source Four HID theatrical spotlights with Rosco dichroic filters and placed them alongside Lumenpulse Lumenbeam Large LED projectors at 3,500K to create the desired effect.

locomotive in Europe - as well as a thousand objects related to the railway world, drawings and models. Diversity and difference in scale of the exhibits brought the creators of Lightemotion to use lighting systems, architectural technology and unusual applications. “We had to think outside the box. We used, for example, lighting systems designed for outdoor use to obtain the power and durability required for locomotives highlighting,’’ said Roupinian. The project required more than 2,000 LED lamps and metal halide, known as Metalarc, widely used in film projectors and theatre. Every detail is carefully embraced by the

light through a thorough study of exposed volumes. Each light source was custom tailored to the scenography needs and context. Simulations using 3D software has achieved a considerable level of precision in highlighting the project. With the hangar space's 20-metre high ceilings, the primary challenge was creating and controlling theatrical lighting with very few lighting positions and difficult maintenance access. To address the access issues, Lightemotion used equipment that was low maintenance and controllable, so it could create the immersive environments demanded by the design brief. “But, we also knew from the beginning that we wouldn’t have the budget for a full LED

system – this meant we had to use a mix of lighting sources,’’ explained Roupinian. To address the ceiling height, metal halide ETC profiles were used. However, because they’re not dimmable, Lightemotion had to carry out mockups to find the ideal filters to tint and reduce the light levels on the trains, in order to create the theatricality required. It was also a challenge to produce tight beams of light in order to stage small objects from those high ceilings; again, a lot of research and testing was done, to select the ideal lamps and fixtures for the desired result. “Using multiple types of lighting sources in one gallery was a tour de force,’’ said Roupinian. “We didn’t want the ambiance

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Top and Middle More angles and more trains showing the effect created by combining ETC Source Four HID theatrical spotlights and Rosco dichroic filters. Bottom LSI LN36 dynamic AR111 4° fixtures highlight past objects relating to the world of railway and its fruitful history.

or the overall visual environment to be messy, from halogen to LED to arc lamps. Again it was the careful selection of filters that was critical to achieving the effects we wanted, and ensuring the quality of the end result.’’ Aside from not having the budget to use an LED system throughout the museum, having to mix sources and use arc lamps complements the industrial nature of the trains and their materials. Without them, the exhibit ambiance may not have been the same. The lighting is at times dramatic, vibrant and animated. Each exhibition hall is unique and presents a variety of environments to be experienced by its visitors. “Trainworld differed from our previous museum projects due to the scale of the display space. But it shows that lighting can be theatrical and sensitive in its tonalities and intensity levels, and still tell a story in a large scale setting,’’ concluded Roupinian. The space, objects, light, image and sound combine to create a multisensory experience to carry visitors into the Belgian railway world. www.lightemotion.ca

PROJECT DETAILS Train World railway museum, Brussels, Belgium Client: SNCB, Eurostation Architects: ExpoDuo Scenography: François Schuiten Lighting Design: Lightemotion

LIGHTING SPECIFIED ETC Source Four HID theatrical spotlights iGuzzini Tecnica AR111 track-mounted spotlights LSI LN36 PAR36 Series spotlights Lumenpulse Lumenbeam Medium LED projectors Lumenpulse Lumenbeam Large LED projectors Luminergie LED PLA system Philips Color Kinetics Dynamic White grazers Rosco dichroic filters and gobos

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ART & DESIGN / DARK SOURCE STORIES

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COLLECTIVE SPIRIT Light Collective are a bit of an enigma. Deliberately so. When they started out six years ago they thought it best to be cagey as they hadn't quite worked out what they planned to do - they always knew what they didn't want to do but that’s another story.

Light Collective consists of Sharon Stammers and Martin Lupton and is based in the UK, but their unique philosophy has seen them travel to most corners of the globe. Referred to variously as the ‘Daft Punk of Lighting’, ‘Light Collectors’, ‘Light Evangelists’ and (less flatteringly) ‘the Kirstie and Phil of lighting’, it’s hard to pin down how the practice works but work it does, as the pair pop up in the most unlikely of places, initiating the most unusual of projects. However, in their own words, they still undertake some conventional lighting design: “When we set up Light Collective, we decided that we would continue to undertake architectural lighting design projects but that we wouldn't publicise them. After fifteen years talking about architectural lighting, we wanted to ensure the other stories we had to tell took precedence.”

Despite a secret portfolio of design work that spans private houses, shopping centres and hotels in the Middle East, Light Collective are much happier to talk about projects that see them providing opportunities for their peers or spreading the word about light in the wider design community and amongst the general public. “When we set up Light Collective we took a deliberate decision not to work in the way other lighting consultancies work. We wanted our company to give us opportunities to collaborate with other designers and friends around the world. We looked at the conventional model for a lighting practice with its typical pyramidical hierarchy and decided to do the opposite. We decided not to have an office and not to expand. People said it would never work... but six years on there are still just the two of us, working wherever we travel.” The kind of projects that unite the lighting

community are ones where Light Collective create an opportunity for other designers to showcase their work and create a platform for the lighting industry to talk about light not just to peers but to the wider world, something that is often lacking. One Beam of Light was a photography competition that allowed 350 designers to be involved, resulting in a public exhibition at the ICA, London and Play of Brilliants was an exhibition in Paris that presented thirteen pieces of light art in a three month show. “Curation and initiation of ideas of this type allow us to present the work of others and show the public that what we know about light as a professional community is worth sharing.” Light Collective are also big on community engagement and have produced projects where the general public help present a project based on light. This style of working has led to guerrilla events all over the world

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and the sort of interventions that have engaged 1,000 passers-by in New Zealand or 250 students with mirrors in Singapore. Education about light is a key to the Light Collective philosophy. Light Collective could also be considered to be an underground consultancy as they are often content to quietly be the team behind an idea. Their logo can be seen subtly gracing many an event and going unnoticed by attendees. Maybe you attended the balloon party in Madrid, paint throwing in Copenhagen or one of their secret colour dinners around the world? Light Collective are also long standing collaborators of mondo*arc and have curated the back page since 2010, a seven year stint that has created an opportunity

for designers all over the world to present their inspiration to readers of the magazine. Their current collaboration is the darc awards with Light Collective as creative consultants to the event. The second round of the awards is in September and attendees can look forward to an even bigger and better event. “The darc awards meets the Light Collective collaborative agenda. It has turned the award format on its head and allowed us to put together a truly creative event that reflects the creativity of our industry. We have been able to involve the talents of many of our contemporaries in order to make this happen. Vote online to ensure you get a ticket.” If you want to see more of Light Collective in action, check out their new YouTube

channel. Its a home for all the films that they have taken on their travels over the last six years and includes videos about light in art, light in architecture, social light, guerrilla light, light events, light and people, daylight, sunlight and any other cool things to do with light that they come across. “Someone once referred to us as Light Collectors and we have been trying to live up to the description ever since. Light Collective TV is our opportunity to share what we have been doing and what we have seen. There are new uploads on Tuesdays and Fridays. We would love it if you would subscribe and share.” www.lightcollective.net @LightCollective

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ONE-STOP SHOP After temporarily hijacking the identity of Wallplay Shop in New York, USA, light art collective Nitemind created FLATLAND - an immersive installation of 2D and 3D LED sculptures coupled with live musical performances.

Pic: Joey Perugini

Pic: Erez Avissar

During April 2016, light art collective Nitemind presented FLATLAND - an evolving light installation and concept shop - at Wallplay 118 Orchard St. New York, USA, exploring the interplay of dimension and light. Showcasing minimal lighting pieces (2D and 3D LED sculptures), an immersive installation was open upstairs for the opening and closing nights only. Coupled with live musical performances, these events were scattered throughout the week it was open. Along with FLATLAND, Nitemind creates

mesmeric visual experiences of motion, light, and colour. It is a group of artists using technology and physical space to create immersive and interactive installations. Its work uses light as a medium, including laser beams, video-mapped LED and software art in combination with ephemeral sculpture and site-specific installations. Nitemind has been instrumental in the development of exhibitions at the Palais de Tokyo, Metropolitan Museum of Art, MOMA, Johannes Vogt Gallery, Red Bull Music

Pic: Joey Perugini

Pic: Erez Avissar

Academy, and many others. With thanks to artist and interactive programer Michael Potvin; artist, designer and lead fabricator Joey Perugini; creative producer and music supervisor Brian Sweeny; Shadrack Lindo for graphic design and Will Rahilly for video animation, FLATLAND was an awe-inspiring display of how dimension and light can interact to create a truly exciting event. www.nitemind.tumblr.com www.wallplay.com

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Pics: Courtesy of Osram

AT THE TOUCH OF A BUTTON Hosted by Sweden's capital, this year's Eurovision Song Contest received lighting effects from Osram and Clay Paky, bathing Stockholm in vibrant hues of light - both on and off the stage.

With Osram as the official lighting partner for the second consecutive year, this year's Eurovision Song Contest (ESC) took place in Stockholm, Sweden from 10-14 May 2016. Osram and Clay Paky were entrusted to provide lighting effects for the event, including around 1,000 moving heads equipped with state-of-the-art light sources to present the contestants from 42 countries during the semi-finals and the final. “We were really pleased to be back at this prestigious event with our lighting products,” said Hans-Joachim Schwabe, CEO of the Specialty Lighting business unit at Osram. Frederik Jönsson, the lighting designer for this year’s contest added: “For lighting designers, the Eurovision Song Contest is like the Holy Grail. It attracts an enormous number of viewers from all over the world, and it's a huge challenge: to do it and to do it right.” Running at the same time as the contest,

Osram bathed famous landmarks in bright colours that showed viewers’ thoughts of the songs. Seven landmarks were illuminated across the Swedish Capital, including: Globe Arena in the Eurovision Village, City Hall, Strömsborg, Kungsträdgården Skyview Tower, Högtorget Building, Gröna Lund Themepark Tower, Tivoli, Kaknäs Tornet, with the help of light control. Viewers all over the world were able to use the Osram Lightify app to award between one to twelve points to each song during the first minute of every performance. Stockholm landmarks like the dome of the event venue - Globe Arena, the City Hall Tower and the television tower were bathed in bright colours that reflected the audience's feelings. A song that failed to win the audience’s favour generated a wave of blue light. A song that inspired the masses and thus got an average of twelve points, turned the landmarks bright red. The ratings were carried out independently

of the telephone voting process that affected the determination of the winner of the ESC. Some of the lighted monuments and buildings were able to be seen on a live stream, while viewers could also keep track of the audience's ratings by using live feedback offered by the app. With the help of the products made by its Clay Paky subsidiary, Osram created effective moods and spectacular lighting shows on the stage of the Globe Arena during the performances. www.osram.com www.claypaky.it www.eurovision.tv

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Above Stockholm's Globe Arena glows a deep red in reflection of the audience awarding a song an average of twelve points using Osram's Lightify app. Below Left Tivoli theme park is bathed in a blue hue, expressing a negative reaction from the audience. Below Right City Hall tower stands tall as a light beacon on the eastern tip of Kungsholmen island.

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THE VIKING AND THE VICTORIAN With works that often incorporate an interactive use of light, sound or movement, musson+retallick's collaborative approach breeds ideas that use art as a driving force in the way we design public spaces.

musson+retallick produce large scale artwork for architectural and exterior spaces. The studio is a collaboration between artists Neil Musson and Jono Retallick who share a desire to see artistic stories woven into architecture and public spaces to enhance a sense of belonging. Their innovative installations often incorporate an interactive use of light, sound or movement to change perception of space. “We knew each other back in college days but lost touch for eighteen years after graduating,’’ Musson explains. “When we got back in touch, the work we were producing had similar themes and, despite our obvious differences, we found each

other's company very agreeable.” The duo are indeed different in character and were dubbed ‘The Viking and The Victorian’ while giving a CPD lecture at Jestico and Whiles. They cite their common interest as being the exploration of themes relating to journeys through time, emotion and landscape. The work of musson+retallick is often collaborative and never repetitive, which Jono attributes to the dialogue between client and artist: “We are interested in notions of ownership and, while steering a project, we enjoy opening elements of it for debate and consider the client and the manufacturers part of our creative team”. The studio has a wealth of experience

producing artwork for both public and private sectors, including commissions for airports, hospitals, schools, galleries, hotels and events such as the 2012 Olympics. Community and shared experiences are central themes behind the artworks and several projects have resulted in the significant rebranding of the spaces in which they exist. Retallick explains that the studio has a keen interest in the interplay between art and design: “There is an importance in creating something which answers a brief and serves a purpose whilst also having strong artistic integrity and an evolving narrative.” The Beacons series of artworks re-evaluates the notion of the gallery by creating

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Top Neil Musson, Jono Retallick This Spread 'COLONIES' - Nizza park in Frankfurt was host to 25,000 viewers of this installation addressing issues of immigration and tribes. Two colonies at different developmental stages exist within sight of each other but their relationship is intentionally unclear. The viewer is invited to move amongst the lit elements, leading to discussions about the nature of the colony. The forms in one colony radiate colour-changing light from their patterned surface while the second colony, consisting of suspended cocoons, respond with slow breathing light sequences.Â This project is part of musson+retallick's wider collaboration with Applelec.

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Top Left Suspended in a freeze frame moment above the entrance foyer to 100% Design, London, 'Collider' mimics the movement of a flock of birds. The project was a collaboration with Applelec and begun a series of installations using their light sheet product. Top Right 'Now You See Me' was commissioned for the new City of Coventry Health Centre. The soft coloured lighting is sequenced to scroll slowly down the building with occasional bursts of colour. The theme references Coventry's industrial heritage, taking inspiration from the famous production lines. A painted surface behind the lighting reacts with projected colour to create an unpredictable sequence of colour changes.

temporary neon fire beacons whereby the audience arrive out of curiosity rather than invitation. As dusk turns to night, visitors at the site of the beacon can see less of the landscape whilst the artwork becomes clearer to those looking from a distance. Currently awaiting installation is a vast sculptural light installation for KAIA, the new airport in Jeddah, which will fill the departure lounge. The piece contrasts shapes abstracted from the movement of birds wings with the forms of gently drifting

clouds. This installation defines the desire of musson+retallick to see their creations interwoven into the architecture of a space. Musson describes this synergy as: “The difference between art as an afterthought and art as a driving force in the way we design public spaces”. He concludes: “We are always happy to have conversations with specifiers, interior designers and architects to explore new and diverse ways of working.” www.mussonretallick.com

Above 'Transformation' - a neon installation created for Galeria Thomas Flechel in Mexico City. A crack in the gallery floor has been translated into a 3D line piercing the gallery space. This line responds to the character of the Mexican people and to fissures in the pavements of a city which is constantly sinking into the lakebed on which it is built. Left The Beacon series reinstates historic fire beacons using a portable neon kit. Each installation is an event which consists of a trek to a high point from which warning signals were once sent across an expansive landscape. A map is being drawn that will collect all of the locations and memories of events.

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Llumversació #01: 70x60x28.5cm Cellular polycarbonate 4mm, theatre filters, honeycomb cardboard. Adjustable linear LED

Pics: ©artec3 Studio

Llumversació #02: Three pieces of 72x32.5cm Cellular polycarbonate 4mm, theatre filters, aluminium, metal tensors. Projected light.

Llumversació #03: 70x130x26cm Cellular polycarbonate 4mm, theatre filters. Adjustable backlighting.

Pic: ©Soon Cho

VIRTUAL INTERACTION Presented as a collection of light art at Barcelona's dterra gallery, Maurici Ginés and artec3 Studio's 'Llumversació' exhibits how it can break through materials to reveal a magical image, establishing a dialogue with the audience. During February and March 2016, Maurici Ginés and artec3 Studio presented Llumversació - a collection of light art at dterra gallery in Barcelona, Spain. The collection aimed to create a new perception of an object through the use of light, in its interaction with materials and filters. Ginés´work explores the event taking place when two colours interact together, and when chromatic additive interference is applied. The resulting ambiguity creates a new virtual sensation. Ginés, creative director of artec3 Studio,

has more than 20 years of experience working with light in different areas. He has done projects ranging from ephimeral to permanent, in the urban public space. In this exhibition, Ginés proposes an analogical experience in an interior space, where light breaks through materials to reveal a magical image and establish a dialogue with the audience. ‘‘We worked with cellular polycarbonate and theatre filters, and by combining these two materials and integrating light, we established a dialogue with the audience,’’

explained Ginés. ‘‘I like the idea of ‘virtuality’, the piece does not exist but only an image of itself and how the depth of colour creates a new appearance. We have three pieces that work with projected light through cellular polycarbonate, and two with light that emanates within themselves.’’ Llumversacio is a collection of artwork that evolved from Ginés´ persistent investigations during his years dedicated to light. www.artec3.com

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CLOSE ENCOUNTER With the hunt for renewable energy being an ongoing issue, Canada-based lighting designer NARGIZA has created a performance piece that uses light, aliens and the power of colour to stress the importance of energy.

Pics: Maksim Zinchuk

Designed by Canada-based NARGIZA, lighting performance OUTSIDERS: ENERGY IS INSIDE was staged in Oakville, Ontario, Canada in May 2016 at three locations: Lake Ontario, Lions Valley Park and a tunnel under a highway. As we all know, one of the most urgent issues of the present day is the search for alternative energy sources that are capable of sustaining safe life on Earth. Humans have discovered, and are currently using, various existing energy sources. On the whole, these are mineral resources from our planet as well as the power of the wind, sun and water. This performance embodies NARGIZA's imagination of how and what kind of energy

inhabitants of other planets and galaxies might use to survive - how could they possibly look? How could they communicate? What powers their movement, growth, lighting, food supply etc.? NARGIZA chose the colour red to portray the essence and to visualise energy. That is why the 'aliens' in the performance are turned red - maybe suggesting that they came from Mars as red is often associated with the planet. People often say that red is the most vibrant colour as it symbolises passionate love, power, fire and dynamics. According to the Chinese, red brings good luck, happiness and splendour. For the Native Americans it incarnates life and action.

The two visiting 'aliens' draw a parallel to some sort of abstract generalisation of these beliefs. Itâ&#x20AC;&#x2122;s as if they came to share their knowledge, experience and achievements in using various energy sources. To represent this idea visually, NARGIZA decided to make the aliens full of light. Thus reinforcing the main point that the energy is found inside of us and it is the foundation of our livelihood. The materials used in the alien's costumes include: 116 LED modules IP-SF, 5,000 red medium size zip-ties and wire (supplied by GVA Lighting). www.nargiza.net

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TECHNOLOGY

FLORENTINE FOUNTAIN Acclaim Lighting's LED flood units have restored the Breakers Hotel's entrance fountain to its former Florentine-style glory.

The demolition and replication of the 548sqft Florentine-style fountain at the Breakers Hotel and Spa in Palm Beach, Florida, once again greets guests at the front of the hotel under dramatic lighting supplied by Acclaim Lighting. The main Italian Renaissance fountain was built during the construction of the current hotel in 1926. Inspired by an entrance fountain to the Boboli Gardens on the Pitti Palace grounds in Florence, Italy, it was created from designs by Leo Lentelli. Unfortunately over time, the ocean’s salt air caused significant damage to the fountain’s underlying metal structure, causing cracks and pieces of the fountain to fall off. Recently, the existing materials were preserved or replicated as needed per the conservation requirements. The project included removing and rebuilding the steps and two bordering benches, costing an estimated $1.2 million. Focus Lighting, based in New York City, was tasked with bringing back the fountain to its glory days. The architectural lighting design firm carefully analysed the fountain to enhance and accentuate its architectural beauty with light. Weitz Company, one of the contractors involved in the revitalisation of the seaside resort since 1992, hired Florida-based Kuhns Engineering Corp. to implement the conceptual lighting scheme. David Lithgow,

President of Kuhns, said: “Our main criteria was finding a high-quality lighting system that could deliver precise colours and perform for many years in the corrosive salt air environment.” Kuhns selected Lighting Dynamics, Inc. to provide lighting products and controls that met the criteria. Tony Plonner, founding principal of Lighting Dynamics, recommended Dyna Flood QW, Flex Tube SE and DMX controls from Acclaim Lighting as the lighting units are IP66 wet-location rated for wet applications. Dyna Flood QW, a high-powered quadcolour LED flood unit that supplies precisely matched colours in outdoor settings, was strategically placed around the fountain to highlight its architecture. Using Acclaim’s quad-colour technology, Dyna Flood QW has a RGB+white colour recipe. Because quad-colour technology mixes the colours under the lens unlike traditional technology, the Dyna Flood QW delivers more precise colour matching. In addition, each Dyna Flood model features an auto-switching, multi-voltage power supply and an on-board touch-sensitive menu, which allows the colour scheme to be changed. “The Breakers is able to make seasonal lighting changes without diminishing the architectural beauty of the fountain. For instance, for Breast Cancer Awareness, Autism Awareness, St. Patrick’s Day,

Christmas and other holidays,” said Lithgow. “The lighting system is controlled with a DMX-512 from Acclaim Lighting for colour and dimming options.” The Dyna Flood QW features brightness of 1,579lm at a 20° beam angle, delivering efficacy of 26.3lm/W. Consuming 60W, the units are warranted for five years and retain 70% of brightness at 50,000 hours. For lighting around the benches, Flex Tube SE, a side-emitting, outdoor-rated, flexible LED tube in multiple colour temperatures was specified. It provides a 160° beam angle, while operating on 24-volt DC power and consumes only 3.3W of power per foot. Flex Tube is available in colour temperatures of 2,700K, 3,000K 3,500K and 4,000K red, green, blue and RGB. IP68-rated and submersible to three feet, Flex Tube SE features a UV-coated, saltwater-resistant, flexible silicone jacket that can bend to a diameter as little as 4.8 inches. A variety of mounting channels allowed installers to discretely install Flex Tube under and around the benches. The lighting system was installed from June to late November 2015. According to Lithgow, the lighting fixtures go through a rigorous salt bath test daily at the seaside resort. www.acclaimlighting.com

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AT ONE WITH NATURE

In order to boost the volumetric lightness of Chile's El Carmen Hospital, Lamp Lighting has minimised exterior lighting to allow interior illumination to highlight the building's transparency.

El Carmen Hospital in MaipĂş, Santiago, Chile, was built on a large site on which there used to be a park. With a view to not letting the surface area of this park go to waste, it was decided to use the major difference in elevation between the two sides of the parcel (twelve-metres) to develop the building on two different levels. The first level (first and second storeys) contains the different programmatic areas, while the basement ceiling is a continuation of the public park on the upper level (third floor). The second level (fourth and fifth floors) are two displaced bars, resting in suspension over the park. The bars support the hospitalisation areas and have a direct relationship with the park. All these strategies help the building look smaller than it is, allowing it to fit into its setting more easily. In light of this, El Carmen Hospital was awarded the International Award for Architectonic Quality in Health Buildings IFHE 2014. Pics: Lamp Lighting

The lighting project, with luminaires from Lamp Lighting, seeks to boost the volumetric lightness proposed by the architecture. The lighting level of the landscaping and the exteriors adjoining the building were minimalised, respecting a comfort and safety standard, and allowing the interior lighting to highlight the transparency of the volumes appearing at different heights. This formal criterion is also consistent with the intention to reduce the energy demand of a large-scale building. The precise definition of the vertical and horizontal planes to be lit up, combined with a selection of highly efficient light fittings and lamps, allow electrical power and consumption standards to be attained, which are equivalent to those required by the bodies certifying green buildings. The operational safety and low maintenance cost were also a concern when defining technology and lighting devices. As it's a health establishment that needs to work 24

hours a day, 365 days a year, it needed light fittings capable of withstanding intense cleaning maintenance and record without risking the deterioration of the optical bodies, the diffusers or the seals that ensure the hermeticity of the appliances. This is where Lamp Lighting has contributed with its products to provide the hospital with good lighting. In the interior, KONIC fixtures have been installed for the general lighting of the corridors, emergency boxes and enquiry boxes, FLAT for waiting rooms, INDIRECT MODULAR for waiting and dialysis rooms and HERMETICS for lighting up operating theatres. On the exterior of the hospital NIC have been installed at the main entrance, MINI PROA in the emergency unit entrance, NIU in the outdoor car park, URBAN on the parking access ramps, UPLIGHT at Plaza Mapuche and XTREMA on courtyards with interior spans. www.lamp.es

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TECHNOLOGY

ENCHANTING EVOLUTION Precision Lighting's Pico and Minimo families play a part in an enchanting lighting scheme from Studio ZNA at The Natural History Museum's new Human Evolution gallery in London.

London's Natural History Museum’s latest permanent gallery - Human Evolution has been illuminated by Precision’s Pico and Minimo families, forming part of an enchanting scheme by lighting design practice Studio ZNA. Opened in December 2015, the gallery traces the evolutionary journey of the hominins, from the first upright primate ancestors through to modern humans. Studio ZNA, who have previously lit a number of galleries at the museum, including the acclaimed Coral Reef exhibition, were enlisted to light some of the museum’s most intriguing exhibits. For the lighting of a series of five skulls and matching facial reconstructions of the homo genus, ten miniature recessed luminaires from Precision's Minimo family were specified, marking one of the first installations of this new range. The Minimo Eye luminaires, featuring 95CRI LEDs, cast tight spots over the skulls and reconstructions, capturing the unique and defining features in each head. Given that the precise location of each skull wasn't known by ZNA before commissioning, the Minimo Eye’s flexibility after installation was a crucial benefit. With a choice of three tool-less interchangeable optics, full 360°

rotation through the pan, and a maximum tilt of 30°, the Minimo Eye has been designed for versatility. The glare control of the Minimo family also proved useful for ZNA, as the Minimo Eye could be installed adjacent to the main thoroughfare of the exhibition, yet avoid intrusive glare for visitors thanks to its large glare-cut off angle. Pico S1 luminaires were installed with custom stem lengths to provide a steep incident light to illuminate further specimens throughout the exhibition. The custom length and flexibility of the LED spotlight allowed a precise beam angle, avoiding reflection and ensuring excellent vertical illuminance, revealing the features of each fossil. The Pico S1 fittings were finished in brushed aluminum that reveals the machining process in which all Precision products are manufactured, as well as the quality of the 6063-T6 grade material that both Pico and Minimo are machined from. This unique aerospace-grade aluminum has excellent thermal performance, allowing the LEDs in Precision’s portfolio to run cooler and more efficiently. Numerous Pico Surface spotlights were used to illuminate larger display cases, including

the most scientifically accurate life-size Neanderthal and early homo sapiens models displayed publicly. The Surface variants of Pico provide the same options of interchangeable optics, and lockable pan and tilt as the stem-mounted variants, whilst also having the added advantage of their minimal footprint, which adds to the understated appeal. This unobtrusive aesthetic is underpinned in the lighting of the ‘Cheddar Man’, a Mesolithic skeleton found at Somerset’s Cheddar Gorge. The 7,500 year old remains are laid flat at the new exhibition, with Pico Surface mounted in a vertical position unobtrusively at the feet of the Cheddar Man, casting balanced light across Britain’s oldest complete human skeleton. The complete scheme from ZNA represents a demonstration of the sympathy required in lighting the relics of our shared ancestry. The lighting scenario treats these unique fossils with dignity, yet reveals the crucial steps in the evolution of humanity so that visitors to the gallery learn from the exhibition, thanks to the discreet appearance and excellent performance found in both of the Precision ranges. www.precisionlighting.co.uk www.studiozna.com

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ALPINE ATMOSPHERE

Designed by architect Volker Miklautz, the Patsch, Austria Baguette branch utilises Prolicht's luminaires, combined with natural light to frame the beautiful panormaic view of the Patscherkofel mountain range.

“Light is a very specific element of a room; without light there is no room,” said architect Volker Miklautz, who designed the new MPreis supermarket and Baguette branch in Patsch, Austria. Light creates an atmosphere, which means that the appearance of the light source is not always important. “Correctly placed, any light can create a good atmosphere. Naturally, luminaires can also become design elements themselves,” explained Walter Norz, managing director of Prolicht, from Götzens. When it comes to light, it’s all about effect. Luminaires can be integrated almost invisibly into the architecture, but alternatively the feel and design of a lamp can also make a decisive contribution to the atmosphere. Both approaches are used to good effect at Baguette in Patsch: hidden spots provide precision lighting where it’s of essence and an almost sculptural light cord that continues the architectural concept of Miklautz. It forms a kind of cloud that complements the wooden slats on the ceiling – the silhouette of the Patscherkofel mountain. Miklautz also believes light is essential to architecture. “The vibrancy of a place is only made visible by light,” he explained.

In his design for MPreis and Baguette, he incorporated natural daylight, where gentle daylight filters into the market hall between the beams of the roof. The Baguette area opens out onto the landscape with floor-toceiling glazed panels, turning the outdoors into a kind of monumental framed picture. Depending on where you sit, this shows a panorama from Serles, across the Stubai Glacier, the Nockspitze (Saile) and the Inn valley to the Nordkette. The slatted ceiling in the Patsch branch of Baguette illustrates the Patscherkofel mountain, creating a cloud around it with the aid of the SUPER-G variable lighting system (Colour: Hampton Bay) by PROLICHT. This snakes over the dining area in ten modules with different radiuses and a total length of 20-metres. The freeform design gives Baguette its own unique identity and the interplay between natural and artificial light creates a special atmosphere. Above the counter is the IDAHO 100 profile product family with Invader spotlights. This provides clean lighting for baked goods, using special gold LEDs to make them look as crisp and appetising as they taste. The Invader spots around the central console are fitted with typical Korona cones – coloured cone inserts that set the spotlight well

back and thus possess excellent anti-glare properties. Distinct areas can be created using different light temperatures. The lighting is integrated unobtrusively into the architecture, providing a pleasant background illumination. What’s inside the bakery is made visible by the materials, design, the special arrangement of the interior spaces and also the lighting concept. www.prolicht.at

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TECHNOLOGY

BALLROOM BLITZ Decorating the InterContinental London's multi-purpose centrepiece, RCL's luminaires are adaptable to the needs of any function in the Arora Ballroom.

For the new purpose-built conference centre at the InterContinental London The O2, the hotel brand has developed a conference centre that features a luxury 3,100sqm pillar-less ballroom as the centrepiece of the centre’s facilities. Designed for a full range of corporate events, the Arora Ballroom needed a lighting scheme that provided flexibility to match every occasion, and 330 of RCL’s DR7 recessed luminaires provided the ideal solution. The hotel, located in Royal Greenwich on the Greenwich Peninsular, offers easy access to the O2 music and entertainment venue via a covered walkway, and provides convenient access to the ExCel centre via cable car. The Arora Ballroom, measuring 76m by 40m, facilitates multiple configurations for smaller events. At its largest, it can accommodate a large number of guests, seating up to 2,500 for a dinner with full staging and dance floor, making it the ideal setting for award ceremonies and parties. The lighting scenario needed to adapt to the different arrangements of this giant space, as well as the events hosted in the Arora. In addition, with rigging points, it became apparent that the lighting scenario needed the versatility required for lighting suspended items in the three-dimensional space, rather than elements positioned

solely at floor level. 330 of RCL’s DR7 luminaires were specified for this reason; with full pan and tilt control of the luminaire from ground level, the InterContinental team can precisely aim the beam from floor level. Despite this flexibility, there are no protruding elements below the ceiling plane, ensuring the surface remains clear of obtrusive features, and maximises the impact of the 7.5m room height. Matthew Nourse, project manager at RCL, explained: “With the 35-degree tilt of the DR7 and complete pan rotation, there’s a great deal of flexibility in where the venue can direct light from the floor, yet the low-profile finishing allows for a discreet appearance.” DMX protocol allows synchronisation of RCL LED spotlights with wider lighting scheme. Configured to work with the iLight DMX lighting system from Eaton, the luminaires can be refocused to suit individual event requirements, and pre-set scenes can be selected. The choice of control protocol reflected the desire to configure all elements of the scheme centrally; the DR7 luminaires are synced with the other light sources in use through the ballroom, including RGB LED strips for cove lighting that offer colour changing possibilities for the hotel. Matthew Nourse added: “Working closely

with iLight, we’ve been able to deliver a solution for the InterContinental O2 that can quickly recall scenes for common layouts, but still offer the flexibility that allows for fine-tuning to adjust to the intricacies of event set-ups that the InterContinental will require. “With the DMX synchronisation, the luminaires can be controlled to match both the functional need of the Arora, as well as co-ordinate with the required ambience for any given event.” The DR7s were supplied with 2,700K LEDs, providing a warmth and richness to the lighting. This offered intimacy despite the vast space being lit, while the high colour rendering (90+CRI) of the LEDs used allows accurate colour reproduction, ideal for revealing the true colours of subjects within the ballroom space. With an 8° optic, the DR7s offer an extremely narrow beam, ideal for spotlight out the centre of banqueting tables, despite the high installation point. The benefits of remote controlled luminaires in such a configurable space are clear. As the Arora hosts numerous events, the lighting can quickly adapt to the needs of the function, without need for scaffolding or mechanical lifts. www.rclighting.com

Pics: Radiance 35

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COLOUR IS KEY With the view to introduce some potery and fun into the often vandalised subways of Brussels, lighting design studio Radiance 35, the Sibelga Capital region and LEC Lyon have developed a vandalism-proof lighting solution. Isabelle Corten of lighting design studio Radiance 35 and the Sibelga Captial region, Belgium are attempting to reinvent the lighting in subways in Brussels. As part of the lighting plan for the municipality of Jette, Sibelga and LEC Lyon have developed a technical solution to light the subway linking the Cardinal Mercier square and the train station. Too often vandalised, subways are a “recurrent theme in our cities,” stated Corten who is trying to add a bit of poetry and fun to these locations. ‘‘The challenge in these places is to find vandalism-proof installations and equipment. As it is often within reach.”

To light this unappealing passageway, the vision of the lighting designer was to make a work of art, create a fun passageway between these two entities and to make these often difficult and forgotten places seem shorter by playing with colour. Colour is key, it transforms the space and even gives graffiti another dimension, making it appear as part of the work. The reduced height of the subway and its exposure to vandalism led Sibelga and LEC to develop a technical solution in line with the lighting designer’s artistic objective. For this project, 80 5633-Arches LED linear lights, with - L4 optics, 40 warm white and 40 amber, light the subway alternately with

bands of coloured light. To make the subway more user-friendly and secure, by day and night, it was essential to provide special vandalism-proof lighting. Custom-built stainless steel casing protects the LED linear lights as well as electric and electronic equipment (supplies, drivers, connections and cables) from possible vandalism. The small size of LEC’s LED linear lights, 5633-Arches, and their adjustment capacity allows “easy integration within the box and provides the alternate lighting effect we were looking for,” said Madjid Teklal of Sibelga. www.lec-lyon.com

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IALD COLUMN

THE ART OF FEE PREPARATION David Mintz, FIALD explains that when it comes to preparing a fee proposal, it’s not what to charge but how to figure it out.

The most important part of preparing a fee proposal is not deciding what to charge, it is in knowing what it will cost you to do the work. If you don’t know your costs, it is impossible to know if your fee will result in profit. Costs can be defined as direct labour + fringe benefits, or direct personal expense (what all who book billable hours get paid) and overhead (does not produce revenue but is necessary to function). Added to direct personal expense and overhead is profit, revenue in excess of your costs. Without exception, the billing rates for each employee should include ALL THREE elements. Principals, your salary is not profit, it is a cost just like any other employee. Profit is left after you have paid all the expenses and the employees, including yourself. The following terms and calculations are representative, with variations in terminology and method: Direct Labour: The amount paid each employee per hour not including fringe benefits. Fringe Benefits: Items that businesses cover on behalf of employees. Direct Personal Expense (DPE): The amount paid each employee including fringe benefits. Overhead: Operating expenses such as rent and utilities. Seek advice for what to include. In order to determine an hourly billing rate for each employee, fringe benefits, overhead and profit are added to direct labour by using multipliers. Fringe benefits

are calculated as a percentage of direct labour to give you the DPE multiplier. Example: • Cost of Direct Labour for the entire firm £1,000,000 • Cost of Fringe Benefits for the entire firm £250,000 £250,000 ÷ £1,000,000 is .25 • The DPE multiplier is 1.25 • The DPE for the entire firm is £1,250,000. • Calculate the overhead multiplier: (overhead for the entire firm) ÷ (DPE for the entire firm)

If the choice of fee structure is yours, consider what you know about the project, the scope, the timing, the complexity. Is it a building type with which you are familiar or will you have a learning curve? Is the project local? The more detail the better your chance of developing an appropriate fee, which gives your client a sense of value received and lets you make a profit. If you take a project at a low, unprofitable fee in order to “get your foot in the door,” all you have done is train your client to expect you to work cheaply.

Example: • £3,000,000 total firm operating expenses (TFOE) • £1,250,000 total firm DPE • Overhead = TFOE - DPE £3,000,000 - £1,250,000 = £1,750,000. • Overhead multiplier: £1,750,000 ÷ £1,250,000 = 1.4 • Add the two multipliers: 1.25 + 1.4 = 2.65. This is your total multiplier. • The hourly rate for an employee earning £45 per hour is £45 x 2.65 = £119.25.

Basic fee structures: HOURLY You get paid by the hour and the client decides when to stop. Suppose you come up with a great concept in the first hour? Shouldn’t you be paid for the value you add? Or you log many hours without much to show. You run the risk of the client cutting you off without finishing the job. Additionally, you may be required to provide detailed timesheets for each employee, adding significant extra administrative work. There is not much to be said for working on a straight hourly basis.

Finally, add profit, a fluid number that may be what you want to earn or is negotiated. If your profit objective is 10%, multiply £119.25 by 1.1 to get a project hourly rate of £131.18 for that employee. What comes next is dependent on how the project is structured. Ideally, you can decide what works best for you and structure your fee accordingly. Many times the client will express a preference, or even dictate the terms.

HOURLY NOT TO EXCEED Hourly not to exceed puts a cap on your fee, but you are required to keep on working until the project is complete. You have two ways to lose. You get paid very little if you finish in fewer hours than allowed and you run the risk of a loss if the job takes longer than anticipated.

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You can protect yourself with hourly not to exceed by: • Raising your hourly rates. • Including a generous number of hours under the cap. Remember, only you know the capabilities of your firm and have estimated what it will take to do the project. • Changing ‘not to exceed’ to ‘a maximum value of’. The client has the opportunity to cut you off when you get to the maximum value, but you will have been paid for your work and you eliminate the risk of an openended contract. LUMP SUM The lump sum fee is a double-edged sword. If you calculate correctly and work efficiently and according to your expectations, you can make a profit. If you struggle with the design, encounter an unexpected learning curve, make false starts and are not efficient, or have trouble ‘selling’ your design to the client, you can be hurt badly. To develop a lump sum fee start with an estimate of how many hours each “billable employee” will spend on the project. I call it “estimating P’s and T’s” – the principal’s and the technical employees’ time. Look at each space included in the scope of work and estimate how many principal and technical employee hours each space will take. This is tedious, but important. It forms the basic fee framework. When you have estimated hours for all spaces, take the principal’s hours, multiply them by the

principal’s hourly rate including overhead and profit. Then take the technical employees’ hours, multiply by their hourly rate including overhead and profit. Add the two totals for your labour fee estimate. When preparing a lump sum fee, it is extremely important to clearly and explicitly define the scope of the project, what spaces are included and, sometimes, what spaces are excluded. It doesn’t matter what you include or exclude. The important thing is to be very clear about what you are agreeing to do. Always have something in the contract you can give up. If you must reduce your fee, delete some of the less important spaces or services without compromising your design. Most importantly, you must not reduce your fee without some reduction of scope. Identify reimbursable expenses. If the client wants to cap them, specify quantities and estimated costs. Be clear you will not exceed the cap without written approval. Non-reimbursable expenses can include anything the client doesn’t want to pay for such as meals in excess of a per diem. It is important that you recognise such expenses and build them into your fee. Finally, define how many days you anticipate being away for meetings, site visits, etc. List each item specifically with the appropriate number of days. The more explicit you can be, the safer you are within the lump sum. When you have done this work you will be well equipped to negotiate the final contract and have a basis for requesting additional fees for added services.

It takes practice and experience to develop lump sum fees, but when done correctly it offers great opportunities. Caution: always do the “P’s and T’s.” That is your safety net. COST PLUS Cost plus is rarely used for a design or consulting contract. It is a variation of an hourly contract except that you don’t define the number of hours anticipated and you break out the profit number which is the plus part of it. All costs are subject to the profit adder. There will be an excessive amount of paperwork because you must detail every expenditure and, possibly, provide timesheets, receipts and other documentation. At the completion of any job, timesheets become a valuable resource. It is important to compare the actual timesheets with the “P’s and T’s” used to develop your fee. Doing so will help validate your original estimates or let you see where you went wrong. Over time, the comparisons will help you become more accurate in the development of fee proposals. Finally, let me leave you with something I was told very early in my career: “When you ask for your fee, don’t cough.” Which means, whatever the number, say it as though it is the natural and normal fee you would expect. Because, remember, your work is worth it. www.iald.org

150

TECHNOLOGY

The transition from traditional light to LED is continuing to dominate the architectural lighting industry. Dr Geoff Archenhold talks us through the digital lighting revolution, the benefits, the problems and everything inbetween.

DIGITAL LIGHTING REVOLUTION Will Digital Lighting PaE? One of the big issues rocking the lighting industry is the transition from traditional light to LED. Traditional routes to market are under significant price pressures as the barriers to markets have been reduced. The traditional players have already started to divest lighting assets, with the most recent being Royal Philips which has released 25% equity in Philips Lighting’s IPO to raise €750m to spend on healthcare activities instead. The advantage of being the world’s largest independent lighting company will enable Philips Lighting to significantly rationalise its cost base and look to jettison unprofitable areas in a timely fashion. This is similar to Osram when it was carved out of Siemens, which has sold whole divisions and created a new strategy but took several years to transition and no doubt Philips will follow a similar course of disruption. The problem is that the second wave of

technology change has hit the sector and this time it’s a much bigger tsunami, with the potential to make even larger market disruptions that could see companies such as Osram and Philips completely acquired within the next five to seven years. This new Digital Lighting transition will require: • New technology development more suited to smaller and more nimble businesses. • Different skill sets for deployment. • Network designers, engineers and technicians. • Security consultants and advisers. • Different lighting installers. • Data analytic engineers. • Marketing teams utilising the new lighting associated assets. • Understanding that new routes to market will occur through different sectors such as IT and Value Added Resellers.

So the question is: will new Digital Lighting technologies PaE? (PaE relates to Power and Ethernet Systems, which combines LED fixture power and Ethernet digital connectivity. Digital Ceiling Concepts Cisco is currently undergoing a technical revolution by connecting more devices, people, and processes to drive new user experiences and better business outcomes. The digital ceiling concept converges multiple building networks lighting, heating and cooling, IP video, IoT sensors, and much more - through a secure and intelligent network platform. Such systems help unlock new experiences and efficiencies whilst lowering building operating costs over typical 50 year lifetimes. Through digitisation it’s possible to put high-resolution sensor data into huge databases that can be analysed using Neural

A simple way of comparing traditional lighting and PaE installations is shown in Figures 1a (left) - Traditional installation Vs 1b (right) - Power and Ethernet installation. In order to operate PoE++ systems it is advised buildings are future proofed and equipped with Cat6A cabling as this enables easily up to 100W of power whist reducing cable power losses.

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Networks and AI to gain a deeper insight into the building and its environment. Digital Ceilings utilise IP to connect disparate building networks, systems and services through converging services to enable: • Lower-cost, more efficient building and tenant services: the Digital Ceiling lowers the cost of building system installation, operation, and management through unified communications and centralised control of global facilities. • Transformative new experiences: different building systems can now easily and securely work together. • New business insights: by combining connected building endpoints with sensors, organisations gain deeper insights into how employees, customers, and guests are using indoor spaces. The fundamental difference is that the disruption takes place around standard IT based systems that are already installed throughout modern buildings. Therefore, there is no need to invent new protocols, wiring systems and solutions to overcome old lighting systems and utilise what is already installed throughout the building. Here lies the issue for the lighting industry - it doesn’t know anything about IP addresses, RJ45’s, PoE, Network configuration or Network Security. What are Power and Ethernet Systems? The majority of Power and Ethernet Systems for lighting would consist of a centralised LED power system that provides DC currents passed to light fixtures or sensors held in the digital ceiling. There are two ways of achieving a PaES: 1. Power over Ethernet: Allows both power and control signals to be transmitted along the same RJ45 cable to an intelligent light containing an electronic LED and control interface. 2. Non-PoE solutions: Power to LED fixtures is provided from centralised LED driver units which may include the ability to use sensors with RJ45 or other connecting systems. PoE systems are commonly used today within buildings to support telephone and security CCTV systems where devices have low power requirements. There are two reasons why PoE isn’t being deployed in lighting installations: 1. No ratified standard for high power (>25W) devices. 2. Current high power systems are hugely expensive (>£200 per light). PoE systems have a significant cost implication as the only high power (>25W) systems available are proprietary, which limits high volume deployments. The good

news is that new PoE standards are shortly to be ratified to allow LED fixtures of up to 96W to connect to standard IP networks which should drastically cut PoE hardware costs moving forward. It is expected that PoE++ known formally as 802.3bt (types 3 and 4) will be ratified by the first quarter of 2017 with compliant systems available on the market by the end of 2017 with prices of PoE++ devices predicted to rapidly fall to less than 25% of today’s costs. Non-PoE solutions In contrast to PoE a much lower cost solution is providing Ethernet connectivity to a centralised LED driver which then provides DC power to remote fixtures or sensors. Such solutions offer the same benefits as PoE without the cost of expensive PoE end points (similar to LED drivers). The advantages of PaE solutions There are significant advantages of Power and Ethernet solutions above and beyond the digital ceiling concept, covering all sorts of installation phase savings and maintenance phase savings. Creating new User Experiences and Lighting Services With an IP backbone linking multiple building systems in a smart, connected architecture, future lighting systems will enable highly customisable indoor environments and personalised employee workspaces that improve safety, comfort, productivity and business deliverables. New services can be offered by Digital Lighting Solutions including: • Optimise employee workspaces: Many organisations are using ‘hot-desking’ or ‘hoteling’ to create reserved work spaces. Employees can customise light and room temperature in their reserved spaces. • Create comfortable environments automatically: Indoor spaces could dynamically adapt heating and cooling systems based on real-time occupancy. • Get people to destinations faster: Digital solutions can be integrated with digital signage and wayfinding applications that automatically connect with employees’ and visitors’ personal devices. • Create human-centric environments: One can control lighting intensity, colour, temperature, and other factors in every space to adapt to the needs of occupants. • Power new retail experiences: Lighting powered by the network can be used to feature special promotions and sale items; guide customers to specific items with light;

closely approximate natural light to show truer colours and reduce returns; measure store traffic patterns, better understand customer and staff behavior, and optimise sales with light-fixture sensors. PaE helps optimise business operations PaE systems and digital lighting creates business value beyond pure lighting by utilising built-in sensors and harnessing big data analytics to drive better business outcomes: • Improved building use: With in-depth analytics it is possible to gain visibility into real-world usage of spaces to better manage, plan, and optimise a building’s use. • Improve physical security: Integrate physical security applications, video surveillance, and security controls that use presence sensors. • Boost business results with analytics: Collect light, sensor, and usage data of the environment to optimise traffic flow in retail stores, track and optimise sales, and identify premium locations for featured products and services. With the ability of being based on standard Ethernet solutions, PaE systems allow scalable lighting systems to many tens of thousands of devices making them uniquely positioned compared to RF based solutions limited to hundreds of devices at most. Conclusions The digital lighting revolution is upon us and I strongly believe that Ethernet based solutions will prevail as the prominent future lighting technology platform moving forward. With the soon to be ratified PoE++ standard set to reduce PaE system prices over the next three years, the lighting market will enter a new evolutionary phase. New lighting players will be created such as IT network security and configuration consultants yet traditional lighting fixture manufacturers will suffer as they find they cannot add any value in the new supply chain, resulting in a significant shakeout of players. The leaders in lighting may be companies such as Google, Facebook, Cisco, Microsoft or Apple moving forward – Watch out Philips and Osram! 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. g.archenhold@mondiale.co.uk

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TECHNOLOGY

Following an impressive array of product designs at Light + Building earlier this year, David Morgan discusses the current situation, development and future application of LG Display’s OLED panels.

FLEXIBLE DESIGN

In the six years since I last reviewed OLEDs it is surprising how little has really changed in terms of applications or usage for this technology in general lighting. In 2010 the general feeling was that OLED was an interesting novelty technology looking for a suitable application. Presentations from leading lighting designers at industry events showed stills from Kubrick’s film 2001: A Space Odyssey of illuminated floors and ceilings as an ideal OLED application, while other designers showed exactly the same images as being the kind of application to avoid at all costs. Ingo Maurer, Philippe Starck and many other design superstars were recruited to develop interesting luminaires based on OLED. Apparently Philippe Starck found the quality of light from OLED panels to be boring and the technology incomprehensible. The general conclusion was that the light quality from OLED panels was very flat, fog like and not very exciting but if it could be produced cheaply enough then it might stand a chance in the office lighting market. While most of the early manufacturers of OLED materials for lighting applications,

including Philips, have now withdrawn from the market, given up making panels and shut down or sold off their pilot production facilities, the Korean based LG corporation have gone in the reverse direction and are still putting considerable effort into development and persuading us to use their products. LG Display took over the OLED development from its sister company LG Chem in 2015, and are currently marketing a variety of shapes and sizes of rigid and flexible panels for lighting applications. LG Display is the world’s largest LCD panel maker and produces display components and systems for TVs, mobile phones and other digital devices. At one point Philips was a major investor in the company but has now sold its shares. The most impressive applications for curved OLEDs to date are in big screen curved TVs including the LG 3D 4k Ultra HD 65”. This application is definitely a very good use of flexible OLED sheet and I assume this generates the investment required for products to be used in lighting applications. Back in the world of lighting, the most

interesting novelties shown on the LG Display booth at Light + Building in Frankfurt this March were the flexible OLED sheets. At the moment the two sizes available are 200mm x 50mm and 406mm x 50mm but prototypes of an impressive 320mm x 320mm flexible sheet were also presented. The rigid panels are remarkably thin at less than one-mm and the flexible sheet is even thinner at only 0.41mm. Both types give a completely flat and even light output with high CRI of over 90. The surface brightness of the panels is not uncomfortable to view directly so secondary optics or glare control accessories are not required, thus increasing system efficiency. There is no UV in the output and blue levels are much lower than most standard LEDs and similar to those in sunlight. The panels run at a cool 35°C and do not require additional heat sinking. The efficiency and life of the LG OLED panels has increased significantly compared to the products on offer in 2010. Efficiency, in the range from 50lm/W for the flexible sheet up to 65lm/W for the rigid panels,

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LG Displayâ&#x20AC;&#x2122;s flexible OLED panels open up new design possibilities. Without the need for heat sinking or developing diffuser optics presents significant advantage for the future. The various shapes, sizes and bendable material allow this product to be used in commercial, architectural and decorative lighting, with such applications as upmarket office lighting systems or backlighting in high-end interior projects where space is limited.

compare quite well with other LED panel solutions based on side lit or back lit diffusing optics. Lifetime of 30,000 to 40,000 hours to L70 is not as high as other LED technology but is much higher than previous generations of OLEDs. The obvious applications for OLED fall into a number of areas including: commercial, architectural and decorative lighting. Ceiling panels for office and commercial lighting is still potentially the largest market for OLED if the size of the panels can be increased to fit a 600mm x 600mm grid system and the efficiency and life expectancy can be further increased. The minimal OLED panel thickness could be an advantage over conventional LED panel designs, possibly allowing ceiling void depths to be reduced but, after allowing for the size of driver and electrical connection components, the thinness of the OLED is probably not the determining factor in the overall luminaire height. To capture a significant share of this market, the OLED panels will need to be cost competitive with conventional LED panels, which have been widely used over

recent years. Unfortunately for OLED manufacturers, the more basic types of LED panel have now become a low cost commodity item so the opportunity in that market has probably disappeared. Using the flexible sheet to develop upmarket office lighting systems with greater design appeal, including curved recessed office lighting modules or soft shaped linear office lighting systems giving a greater volumetric lighting effect, might be a possible strategy to gain sales in this market. There may also be an opportunity to use the flexible sheet material for backlighting materials in high end interior projects where space is very limited. Although lighting designer Graham Rollins of LDI pointed out the sparkle given by flexible LED sheet, incorporating individual LEDs can add attractive sparkle when backlighting decorative glass materials whereas the OLED panel would give a flatter lit effect. Beyond these potential larger volume commercial and project applications, there is also a wide variety of uses in high end decorative and custom luminaire designs

where the various shapes and sizes of flat LG panels and the curved sheet material opens up new design possibilities. Not having to worry about heat sinking or developing diffuser optics for luminaires produced in low volumes will be a significant advantage. The reference OLED designs that LG showed at Light + Building earlier this year, including pendants and task lights, went some way towards demonstrating the potential of their technology and it will be interesting to see if, after a number of false dawns, the time is now right for OLEDs to be adopted in both niche and larger lighting applications. www.lgdisplay.com David Morgan runs David Morgan Associates, a London-based international design consultancy specializing 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 ÂŠ David Morgan Associates 2016

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TECHNOLOGY

LIGHTFAIR ROUND-UP Lightfair International 2016 set new trade show floor and west-coast attendance records during its five-day run in San Diego. Here’s our round-up of what caught the eye. Lightfair International (LFI) was once again a

Association of Lighting Designers (IALD) and the

The LFI Innovation Awards highlighted the best

treasure trove of interesting technology and

Illuminating Engineering Society (IES).

in new product innovation. LFI received 275

development... if you knew where to look. The

“Innovation at the trade show, as well as

submissions from 142 companies and spanned

show has thrived for years in the US market

the exchange of ideas and knowledge in the

fifteen categories that were judged by an

but there’s no denying that the more North

conference, gave us a clear vision of the state

independent panel of lighting professionals.

American visitors attend European shows,

of the art in our industry, while providing

The 2016 LFI Conference curriculum offered

particularly Light+Building, the more they see

relevant vision about its future. It will be

205.5 hours of education and contained

the stark comparisons between the shows in

wonderful to discover what’s next in design

82 courses. Lightfair introduced the IoT &

terms of design - both of stands and luminaires.

in future editions of the show,” noted Victor

Smart Lighting Forum this year, sponsored by

Nevertheless, LFI steams on regardless with

Palacio, president, IALD.

Enlighted. Other new features included a Light

many interesting things to see on the show floor

LFI’s expanded trade show floor featured a

& Health track, additional 60-Minute Sessions,

and in the conference.

product mix of 46 categories that included

a 90-minute off-site tour of the historical San

The largest LFI trade show in its 27-year

controls, decorative, alternative energy

Diego Trolley Station and simultaneous Spanish

history totaled 269,680 net sqft, housing

including solar power, software, exterior and

translation for eight Seminars.

617 exhibitors, including 102 first-time

roadway, digital signage, intelligent buildings,

Globally acclaimed keynotes shared their vision

exhibiting companies and 117 manufacturers

healthcare, hospitality and – new for 2016 – IoT

for the future: Daniel Stromborg, Firmwide

headquartered outside the US.

(Internet of Things).

Product Design Practice Area Leader at Gensler,

“The 2016 exhibitor and product mix

“Global product launches, the coming

‘The Power of Design from Macro to Micro’ and

has expanded as the industry evolves,”

together of great industry minds and non-stop

Bjarke Ingels, founding partner of BIG Bjarke

observed Rochelle Richardson, CEM, Lightfair

opportunities to connect with colleagues help

Ingels Group, ‘Social Infrastructure’. Legends

International vice president.

drive the vitality and relevance of LIGHTFAIR

of Lighting Impact Speaker James Carpenter

Registration increased to 27,628 to set a new

year after year,” noted Mark Roush, president,

of James Carpenter Design Associates Inc.

west-coast show record, beating the 2014 west-

IES. “LFI 2016 was the intersecting point for

presented ‘The Substance of Light in the Public

coast record set in Las Vegas.

all things new in lighting products which affect

Realm.’

LFI is sponsored by the International

lighting design practice,” Roush adds.

www.lightfair.com

Aria Acclaim The Aria Wireless DMX system is a compact, local, outdoor rated wireless DMX system. The Aria transceiver can act as both the sending and receiving point, and provides up to fourteen channels on the 2.4 GHz band. It has an internal wireless radio that features both mesh networking and signal routing optimisation to ensure the best possible reception of DMX data. It comes with a 5dB, omni-directional antenna, which provides transmission up to 2,600ft line of sight, and 300ft between obstructions and walls. www.acclaimlighting.com

Fraxion Lucifer Lighting The next evolution of the minimalist Fraxion downlight is a new full family of recessed fixtures for a true trimless install or with a micro flange trim plate. Proprietary beam optics 15°60° utilising reflection, refraction and TIR allow for easy field change outs. Hot-aimable and lockable in tilt and rotation, offering perfect centre beam maintenance to 40º tilt utilising a sliding pivot point. 900lm (8w) 1400lm (13w). Patents pending. www.luciferlighting.com

STICK-CU4 Nicolaudie 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). www.nicolaudie.com

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TECHNOLOGY

3rd Gen LED COB arrays Luminus

Invue Arbor LED family Eaton

ZipTwo Vode Lighting

Delivering up to 150 lm/W typical efficacy in 3,000K, 80 CRI, Tj = 85°C and over 170 lumen/Watt at 5,000K, the Gen 3 COBs deliver up to 25% higher efficacy than previous Generation 2 products leveraging the company’s high performance packaging technology and premium chips manufactured by Luminus’ parent company, San’an. These new products will continue to be offered in the widest range of CCT/CRI combinations, including 95+ CRI Accuwhite and Sensus below black body products. www.luminus.com

The family features an architectural organic luminaire design for area and pedestrian applications, while delivering precise optical control and an attractive pixilation-free performance with multiple control options including integral 0-10 volt (V) dimming drivers, integrated occupancy sensors and wireless monitoring and communication. Designed around Eaton’s patented WaveStream LED optical platform, the products offer improved efficiency and performance compared to typical HID options. www.cooper-ls.com

The ZipTwo is ideal for interior direct lighting for open office, wall wash and wall graze applications. The 120° and 60º lenses are suited for open office, while the 85° lens achieves balanced wall washes. The 40° and 60° lenses achieve dramatic wall grazing. Measuring just 0.36ins (9mm) x 1.38ins (35mm) ZipTwo was designed for acoustical and drywall ceiling installations with simple clip-in hardware. Standard Output is up to 89 lm/W, 619 lm/ft (2030 lm/m) and 85 CRI. www.vode.com

LED KicK Architectural Area Lighting

Gable & Barrel fixtures Soraa Soraa has redefined human centric lighting with its two new specification grade fixtures - the Gable and Barrel that have outstanding lens uniformity, color rendering (CRI > 90) capabilities, DLC compliant efficacies, and will be available in 3,000K, 3,500K and 4,000K CCT. At only three-inches in depth, the perfectly luminous Soraa Barrel series has a curved arch form and is available in 2 x 2-inches and 1 x 4-inches geometries. Redefining traditional ambient luminaire design, the Soraa Gable series appears frameless, giving it an incredibly clean, contemporary aesthetic in 2 x 2-inches and 1 x 4-inches geometries. www.soraa.com

The LED KicK represents a new class of LED luminaire and is the industry’s first product to angle upwards and yet provide full light cutoff. Fusing a contemporary urban design with advanced LED technology, the KicK combines form and function where it matters most on the pedestrian scale. The pole and luminaire are stylishly integrated into one bold angular design that delivers a truly elegant low glare solution for walkways, paths and building entrances. The KicK’s unique optical system delivers 12,88lm at up 99lm/W with 0% uplight and 0% backlight. www.aal.net

Single / Double Spot WAC The 15W LED single spot replaces a 75W halogen fixture while the 30W LED double spot is the ideal retrofit for a 150W halogen fixture. Both Single and Double Spots are designed with lockable aiming and a sensor-ready receptacle to accept available optional photo and motion sensors. Tightly engineered with factory sealed LED light engines, the luminaires are IP66 rated for wet locations. Utilising proprietary technology, the luminaires are offered in 3,000K and 5,000K colour temperatures and an 85 CRI while delivering up to 2,060 delivered lumens. www.waclighting.com

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Mood Reggiani Mood is a wide range of recessed fixtures with an invisible architectural design made to exalt high-end interiors. It combines high performances and style. These invisible architectural recessed lights for interior application feature elegant details, accessories and finishes, while being durable, reliable and easy to install. Available in a wide scale of diameter and two shapes, round and square, with both trim-less and visible trim mounting options, it offers almost infinite solutions to the designers. www.reggiani.net

Jasper Griven

Fold Fluxwerx

Jasper is a high performance luminaire, which houses 60 high power LEDs as well as in-built electronics and power supply unit. This stylish and versatile fixture is ideal for general and dynamic accent, spot or flood lighting of large areas owing to a wide selection of optical groups and a choice of optional fixing systems for surface mount or suspended applications. Jasper is available in RGBW, warm and cold white colour temperatures, as well as in the Dynamic White release to meet the latest design requirements and aesthetical prerequisites. www.griven.com

Fluxwerx, a Lumenpulse brand, launched Fold, a linear LED pendant luminaire. Combining organic design and small aperture size, Fold features second-generation anidolic extraction optics with low brightness and high-performance continuous lenses. Fold is constructed with highest quality architectural extruded aluminum, precision-milled with seamless fit and finish in either clear anodized, black or white powdercoat finish. Moulded to highlight a soft, organic form, Fold is available with three endcap options: Arch, Oblique, and Slant. www.fluxwerx.com

ArcheType X Site/Area Kim Color Amplifier GVA Lighting Color Amplifier is a new, patent pending technology that unlocks the full potential of colour changing luminaires. GVA’s multicolour luminaires with Color Amplifier have up to three times higher light output in specific colours than comparable fixtures with a traditional approach. This allows for significant reduction in number of fixtures required to achieve the same colour effect while adding more flexibility for lighting designers. www.gvalighting.com

The new ArcheType X Site/Area luminaire joins the Flood and Wall versions to complete a full suite of products. The ArcheType X Site/Area luminaires have independently adjustable LED modules with 355° rotation and 70° of tilt independent of the luminaire, allowing the fixture to be configured to any standard or custom distribution, either at the factory or in the field. The luminaires are available in packages from 5,140 to 39,200 plus lumens. www.kimlighting.com

Skytrack Aion LED Aion LED’s Skytrack is a fully customisable compact linear pendant system. Available in direct/indirect ST860 and indirect only ST-850 (pictured), the Skytrack is compact with high output, 95+ CRI White, Dim to Glow and RGBW+. It features end to end connectivity and has custom lengths up to 96-inches, twelve-inch corners to create rectangular patterns and follow corridors. Made in the USA, the Skytrack is available in black or white powder coat paint. www.AionLED.com

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TECHNOLOGY

TILE Cooledge Cooledge launched 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 virtually any corner, curve or architectural plane. Whether in hospitality, retail, office or entertainment spaces, light can be integrated with the architecture. www.cooledgelighting.com

SALIOT Minebea New to the lighting market but the largest small ball bearing manufacturer in the world with factories all over the globe, Minebea launched SALIOT (Smart Adjustable Light for the Internet of Things, a remote-controlled spotlight that can pan, tilt, dimming intensity and zoom wirelessly using a smartphone app. Light distribution angle can be adjusted from narrow (10Â°) to wide (30Â°) in SALIOT, which can set a selection area freely based on the irradiation symmetry and location, thereby optimising lighting options for any application. www.minebea.co.jp

Fibrance Corning Corning, who exhibited with Lumid showing their Loopy pendant, showed their Fibrance Light-Diffusing Fiber is a glass optical fiber optimised for thin, colourful, ambient lighting. When connected to a laser module, this fiber emits brilliant light into tight places where other bulky lighting elements cannot fit. Fibrance Light-Diffusing Fiber could be integrated into seams, wrapped around columns, or embedded into narrow grooves of almost any material. www.corning.com / www.lumid.com

Vero SE Bridgelux Bridgelux debuted its new Vero SE with poke-in connectivity. The new co-development initiative between Bridgelux and BJB will integrate an advanced array platform and holder system enabling poke-in wire connectivity with the flagship Chip on Board (COB) array product family. The new Vero SE arrays are based on seventh generation technology, and will offer new improvements and innovation in ease of use, design flexibility and energy efficiency. www.bridgelux.com

AC ThoroLED retrofit Fulham Fulham announced that three models of its AC-powered ThoroLED LED Retrofit Kits, the 10W (model TJT120010AC), 15W (model TJT120015AC) and 25W (model TJT120025AC), have been tested and certified as ENERGY STAR Luminaire 2.0 compliant. The three non-dimming LED retrofit kits are designed to replace the original lamps in wall sconces and common ceiling lights for field installation or factory retrofits. They also are cULus classified and because they are ENERGY STAR certified, are eligible for various energy rebate programs. www.fulham.com

Baldur Solo Nordeon USA Baldur Solo combines a slender design with a choice of light distributions and mounting options. The plug and play luminaire ships completely preassembled and ready to install, thereby reducing installation time and minimizing costs. The luminaire has a narrow cross section of 2.5-inches wide x 3 3/16-inches high. It is available in 44-inches, 66-inches, or 89-inches lengths. Energy efficient Baldur Solo lighting modules are available in lumen packages up to 12,000 delivered lumens with efficacies up to 125 lm/W. Four available light distributions satisfy varying general lighting requirements. www.nordeon-usa.com

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Beam Me Up Lightnet Beam Me Up takes the archetype of the ‘hanging lamp’, with its classical conical shade shape, and comes up with a fresh interpretation using LED technology. Its eye catching form makes a bold decorative statement and, at the same time, its powerful lumen output up to 16,000lm copes effortlessly with the illumination of major structures. The luminaire can be optionally supplied with a microprismatic screen for use in modern offices to provide a satisfying environment while maintaining full power efficiency and glare control. www.lightnet.de

Accadia HessAmerica The Accadia LED inground luminaire is suitable for functional and artistic illumination of façades as well as accenting of architectural features such as parapets, columns, or statuary. The LED inground luminaire features refined architectural styling and an advanced reflector system engineered for uniform lighting from the ground up on vertical surfaces. The optics may be adjusted to one of four positions for optimal illumination of the surface. It is available in three sizes with nominal lengths of one, two or three-feet. www.hessamerica.com

Motolux Forma Created for the display, gallery and hospitality industries, Forma’s Motolux fixtures can be adjusted without ladders or mechanical lifts. The numerous advantages include time and cost savings, safety and direct creative control. One simple handheld transmitter controls any number of fixtures and no special equipment or setup is required. Seasonal or ambient lighting effects can also be adjusted with the same handheld transmitter, as light levels and colour temperature can be individually controlled. www.formalighting.com

On-Center Downlighting USAI A partnership with Armstrong Ceilings has resulted in On-Center Downlighting, which seamlessly integrates USAI Lighting’s new BeveLED Connect downlights with a new ceiling system for perfect alignment amongst ceiling grids, lighting and architecture. The system offers designers pre-cut factoryfinished panels and suspension system components with LED downlights never before possible at the On-Center ceiling grid intersection. With 1,200+ lumens from its 3 3/8ins aperture and one-inch regress, BeveLED Connect maximises ceiling height with interchangeable beam spreads from 10-50º www.usailighting.com

LuxiTune linear light engine LED Engin

Casambi enabled products Casambi The first US compatible Casambi products were launched at LFI. Bridgelux/ Xenio presented their LED module platform Xenio Point with Casambi embedded, Eulum provides Casambi Ready 0-10V controllers and PWM drivers, LEDengin launched their tunable white LuxiTune light engine, AAG Stucchi Casambi enabled track systems as well as mutiple OEM manufacturers displaying Casambi enabled luminaires. www.casambi.com

LED Engin demonstrated its LuxiTune linear dynamic light engine - the world’s first Bluetooth low energy (BLE) mesh-controlled tuneable white solution for linear luminaires. Adding a comprehensive BLE interface enables end users to wirelessly configure, control and manage linear luminaires to produce dynamic, coherent and fully tuneable lighting schemes seamlessly. Installed in a 4 x 4 x 48 inch fixture such as a slot or pendant, the linear light engine delivers 650lm/ft out of the diffuser. At full intensity, CRI is over 90 at 3,000K and colour uniformity is three MacAdams or better over the module length. www.LEDEngin.com

LpS 2016 6TH LED professional Symposium +Expo Smart Technologies for Lighting Innovations

International Conference on Lighting Trends & Technologies

International Exhibition for Lighting Technologies & Applications

▪ Latest insights from research and industry leaders

▪ State-of-the art showcases for R&D and design engineers

▪ Nobel Prize Laureate Prof. Shuji Nakamura

▪ Cutting-edge products, equipment and services

▪ 80+ lectures in 4 conference tracks

▪ Highly-focused B2B sourcing and collaboration platform

▪ 1500+ professionals from more than 40 countries

▪ 100+ international exhibitors including the top leaders

Interactive Workshops & Forums

▪ EU Commission, LightingEurope, Zhaga, EPIC, IBM, NXP

▪ Tunable Lighting Workshop by HI-LED

▪ Infineon, Silvair, WadeLux, Bartenbach, GE, Zumtobel

▪ Design-meets-Technology Forum by APIL

▪ UniBright, Glamox, Nichia, Lumileds, Cree, Osram

▪ Horticultural Lighting Workshop by EPIC

▪ Fraunhofer, Yole, Holst Center, Joanneum, CSEM

▪ Int’l lighting and photonics cluster forums

Innovation Platforms

Social Networking Opportunities

▪ Technical innovations presented by start-up innovators

▪ Opening ceremony and expo reception

▪ Light-Art-Designs by lighting designers and students

▪ Get-Together boat cruise on Lake Constance

▪ Product launches presented by industry leaders

▪ Int’l press conference with more than 25 media partners

Sept 20th - 22nd 2016 | Bregenz | Austria www.lps2016.com

Organized by Luger Research e.U. - Institute for Innovation & Technology

Lectures from Renowned Organizations

IALD AWARDS

REACH FOR THE STARS

Tillotson Design Associates won the Radiance Award for the first time at the 33rd IALD International Lighting Design Awards, held at the fascinating San Diego Air and Space Museum on 27 April during LFI. In all, seventeen projects from eight countries were honoured.

RADIANCE AWARD

PROJECT: LINCOLN SQUARE SYNAGOGUE, NEW YORK, NY USA LIGHTING DESIGN: TILLOTSON DESIGN ASSOCIATES, USA Tillotson Design Associates received the Radiance Award for the first time; the award was accepted in person by Ellen Sears for the Lincoln Square Synagogue in New York, NY USA. Five undulating glass ribbons, representing the five books of an open Torah scroll, form the east façade of the Lincoln Square Synagogue and welcome visitors to this striking house of worship in the heart of Manhattan. Linear LEDs integrated into the top and bottome xtrusion of each glass facet illuminate the interlayer of sheer, bronze-coloured, woven and pleated fabric, as well as the white translucent dot frit pattern on the interior lite. This increases privacy for worshippers inside while allowing a slightly obscured view to the beauty of the interior. At the base, a white acrylic diffuser protects the LEDs, while wiring for the 500+ fixtures runs horizontally through the narrow extrusions to 50 drivers located in accessible ceilings to the north and south of the façade. “This project shows clear evidence of a tight collaboration between all design consultants,” one judge commented. “The lighting significantly contributes to an uplifting, poetic, inspiring experience of space, and boasts fantastic fixture integration throughout.” In the sanctuary, the light on the translucent frit, fabric interlayer, and glass mullions forms a backdrop for the Ark. 613 recessed LED downlights in the gentle convex ceiling make reference to the 613 commandments in the Torah, and create a star-like atmosphere that suggests the desert sky.

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IALD AWARDS

EXCELLENCE AWARDS PROJECT: ARTRON WALL, SHENZHEN CITY, CHINA LIGHTING DESIGN: ORIGINATOR LIGHTING DESIGN CONSULTANTS, CHINA The Artron book wall is found inside a Chinese art centre owned by a printing company. Visitors descend a massive staircase and arrive at the wall itself, which houses more than 50,000 art books. The enclosing space is 50m wide, with a towering 30m ceiling – in approaching this black box with no natural daylight, the lighting designer’s aim was to soften the space and shorten the distance between art and human. A clear glass panel protects the books, but posed a unique challenge in applying light well. To avoid glare, the team from Originator utilised projectors to light the books from inside the glass panel and help visitors view them clearly. “Light the task,” one judge commented, “and everything else will take care of itself.” While the book wall is the main focus of the space, the sculptural staircase makes its own impression. The staircase is covered by a layer of greenish blue aluminum mesh on both the bottom and one side, while the opposite side is clear glass. Coloured reflections form the mesh strike the glass of the book wall and add mystery to the space – and the clear glass handrail allows visitors to see through to the wall as they approach. Since the main light source comes from the wall itself, the designers were able to leave a clean ceiling, with just a few downlights. Lighting for the walking path is integrated into the handrail system at two layers: sources are found both above the handrail and concealed within.

PROJECT: CEPSA FLAG STATION IN ADANERO, SPAIN LIGHTING DESIGN: AUREOLIGHTING, SPAIN Spanish petrol company CEPSA provided the lighting designer with four outsize goals: simplicity, elegance, sustainability, and future-focus. To show simplicity, the team chose just one product model and applied it in the two brand colours, red and white. These sources are high power output LED, and are connected to a sophisticated control system. Red linear luminaires highlight the balloons of the canopy; white linear downlights provide general illumination to the car park; and white oval recessed linear diffused luminaires provide task lighting for the pumps area at night. “This project illustrates an excellent use of colour, which is indeed a rare thing,” one judge wrote. “It stands for a ‘clean’ concept with two separate levels: the canopy and the ground. The coloured lighting adds a stunning appearance to the upper, while the white lighting facilitates the commercial use at the ground level.”

MERIT AWARDS PROJECT: AMAN, TOKYO, JAPAN LIGHTING DESIGN: LIGHTING PLANNERS ASSOCIATES, JAPAN The lighting of Aman Tokyo, set atop a skyscraper in the middle of the city, takes Japanese-style design seriously. The team of designers from Lighting Planners Associates embrace the shifting, delicate balance of natural and artificial light in the space with a design that gives careful consideration to brightness and colour temperature, as well as seasonal and daily changes. “Dark finishes, linear lighting and backlit elements provide a result in keeping with the Japanese theme and the luxurious setting,” praised one judge. “The design succeeds in achieving a fine balance.” “Clean, well-integrated lighting establishes links to Japanese tradition,” another judge wrote. “A consistent approach towards daylight strengthens the project’s sense of place.”

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MERIT AWARDS

(CONT’D) PROJECT: AUSTRALIAN WAR MEMORIAL, CANBERRA, AUSTRALIA LIGHTING DESIGN: STEENSEN VARMING, AUSTRALIA Positioned just across from the nation’s Parliament House, the Australian War Memorial is enhanced by a powerful lighting scheme that strikes a balance between subtle and commemorative lighting languages, exhibits respect for the building’s narrative, and dramatically highlights the memorial’s position as one of the world’s great national monuments. Based on a holistic masterplan, the scheme emphasises the building’s sculptural form through light and shade with a commanding hierarchy comprehensible from all sides. The team’s design choices reinforce the importance of the building’s memorial hall, while embracing building features and statues as visual anchors. “This is quiet, respectful, focused lighting, with just enough to aid visibility after dark,” said one judge.

PROJECT: FARMUS KIJIMADAIRA, NAGANO, JAPAN LIGHTING DESIGN: TOH DESIGN, JAPAN FARMUS Kijimadaira is the renovation of an old factory building into an all-in-one operation centre including production, processing, distribution and services for locally grown produce. Inside the hall, no fixtures are mounted on the 7.4m-high marche hall ceiling, a signature look the designers wanted to preserve. Instead, downward-facing spotlights are mounted 3.5m high on structural columns, while uplights expose the post-and-beam ceiling. Their modest light creates a soft ambiance, highlighting each structure and emphasising the elaborate old ceiling. “This is a wonderful solution – a great example of innovative lighting integration on a modest budget in a rural area,” said one judge.

PROJECT: FULTON CENTER, NEW YORK CITY, NY, USA LIGHTING DESIGN: ARUP, USA Light and daylight played a critical role in re-envisioning this downtown transit hub serving 300,000 daily commuters. By studying the solar geometry of the site, the team from Arup determined the influence of surrounding buildings on daylight access, informing the location and design of a 50ft diameter skylight oculus. The skylight tilts gently towards the south, allowing more direct sunlight to enter and reflect into the space below. Under overcast conditions, diffuse daylight is filtered inward, illuminating the space year round and allowing electric lighting to be dimmed or turned off. During summer months, direct sunlight penetrates two levels below ground, delighting passengers on subway platforms. “This project displays truly beautiful engineering and mesmerising geometry,” wrote one judge. PROJECT: KIRIKKALE MERKEZ NUR MOSQUE, KIRKKALE, TURKEY LIGHTING DESIGN: ZEVE, TURKEY Inspired by late Ottoman architecture, the mosque consists of a main dome, four secondary domes, five entrance domes, and four three-balcony minarets. Colour temperatures were selected in order to create fine gradations between these complex surfaces from the bottom up. The main dome was lit in 4,000K, while the entrance domes and carrier columns were given 3,000K, and spots and washes of 2,700K add a mystic appearance and lend contrast at various points throughout the structure, creating shadows and sparkles on the crescents. “The application of ‘just enough’ light to the exterior and good use of warm and cool sources complements the character of the façade elements,” praised one judge.

164

IALD AWARDS

MERIT AWARDS

(CONT’D) PROJECT: ‘MINNA NO MORI’ MEDIA COSMOS, GIFU, JAPAN LIGHTING DESIGN: LIGHTING PLANNERS ASSOCIATES, JAPAN The main feature of this two story multi-use facility is an open-floor, open-shelf reading room with large, suspended, umbrella-shaped globes that gently divide the space, incorporate daylight, and circulate air. The lighting design concept from Lighting Planners Associates aimed to create the illusion of being in a forest, connecting the visitor to nature through the lighting environment, while reducing primary consumption of energy by 50%. “This innovative approach to bringing daylight into the interior space allows for a tight integration of lighting with the architecture and interior design, and creates a great symbiosis of light and form,” one judge praised.

PROJECT: NBCUNIVERSAL LOBB, NEW YORK, NY USA,LIGHTING DESIGN: COOLEY MONATO STUDIO, USA The NBCUniversal Lobby and Mezzanine Restoration captures the essence of the original 1930s art deco design while renewing the space with contemporary technology. Because the building is a historical listing, the designers were exempt from code compliance, but still delivered a lighting power density of 0.6W/sf for the architectural features, half of the ASHRAE 90.1-2007 allowance for a lobby space. A new custom chandelier of bronze concentric rings is the focal point of the mezzanine. The chandelier’s uplight and perimeter wall lighting create a feeling of lift despite low ceilings and dark finishes. “The detailing of the main light feature and the illuminated coffers together with the general lighting restores the space’s interior to its previous glory,” one judge wrote. PROJECT: ØSTBANEHALLEN, OSLO, NORWAY LIGHTING DESIGN: ÅF LIGHTING, SWEDEN Østbanehallen, located in an 1880s building in central Oslo, is a natural meeting place, located at the end of Oslo’s main shopping street. At the end of the indoor hall, a colourful wall of light piles up in three dimensions: 71 overlapping transparent LED panels form a first-of-its-kind pixel wall. The panels can be individually controlled, allowing colour and intensity to be carefully tuned. Østbanehallen’s original design featured an open east-facing façade allowing morning light to fill the giant room. This was the basic idea behind the pixel wall’s design - sunrise and the blue hour are once again welcomed into Østbanehallen. “What an interesting and novel approach to the ‘media façade’ genre,” one judge wrote. “We loved its considered and selective use of colour.” PROJECT: PARK HYATT SANYA SUNNY BAY RESORT, SANYA, CHINA LIGHTING DESIGN: THE FLAMING BEACON, AUSTRALIA The glowing main building of the Park Hyatt in Sanya, China is best viewed at dusk. About a hectare of backlit U-glass on the façade utilises signage-style light-points, dimmed over several hundred channels, to allow graduated brightness, maintain presence on the skyline, and create glamorous resort contrasts. The project’s plethora of ponds were purposefully leveraged for dramatic lit reflections. Despite many detailing changes during the lengthy design process, the designers were able to achieve the originally intended ambiance for the huge reception space. “The façade of this hotel building looks like the sunlight is reflected off the cladding panels during sunset,” one judge described. “The interior is much more subdued, allowing for relaxation and appreciation for the interior design.”

165

MERIT AWARDS

(CONT’D) PROJECT: SAKE, DOUBLE BAY, AUSTRALIA LIGHTING DESIGN: ELECTROLIGHT, AUSTRALIA Sake’s lush interiors balance comfort with contemporary details and precise illumination, while classic materials mesh with modern styling and a subtle Japanese influence. The raw monolithic materials chosen by the client screamed for brushstrokes of light to bring them to life. These combined elements allowed Electrolight to develop a lighting approach that captured the essence of the space, giving guests a dining experience to match the fine cuisine. “The lighting scheme for this bar and restaurant is in keeping with the Japanese theme, revealing the elements of the space only partially,” one judge observed. “The areas of focus are highlighted with concealed lighting, but only subtly. The downlights carefully illuminate the bar table and the light beams never seem to spill out of the architectural details.”

PROJECT: HEISEI CHISHINKAN WING KYOTO NATIONAL MUSEUM, JAPAN LIGHTING DESIGN: IWAI LUMIMEDIA DESIGN, JAPAN The Kyoto National Museum and Heisei Chishinkan Wing are east of Kyoto Station and across from the famous Sanjusangendo Temple, and display various national treasures of the province. The façade of the museum shines like a lamp with a paper shade; designers hoped to create a new nighttime landmark for Kyoto by the light of the latest LED. “The careful application of indirect illumination concealed into the architecture creates a pleasant space to experience and provides transparency from the exterior,” wrote one judge. The grand lobby of the space is covered with a glass curtain wall that shines from the interior like a paper- covered lantern. The designers wanted this luminousness to extend to the Jurassic stone wall, highlighting the richness of the material. PROJECT: THE RITZ-CARLTON, KYOTO, JAPAN LIGHTING DESIGN: WORKTECHT CORPORATION, JAPAN Kyoto, an international tourist city defined by its beauty, history and tradition, has its own lighting culture. The lighting design of the new Ritz-Carlton Kyoto, provided by WORKTECHT, was conceived as “the common light”, in response to the city’s sustainable beauties. In the atrium, the main staircase is inspired by origami. The lighting expressed the beauty of the shadow of the lattice and kept the illuminance at the same time by lighting up the lattices one by one. Just inside the main entrance, a wall featuring a traditional Japanese pattern, ‘seven treasures’ gives guests a dramatic surprise upon arriving. “This is another Japanese project where the lighting is thoughtful and attuned to the culture and tradition of the locality,” another judge wrote. “The scheme realizes the main elements of the brief the client must have given: luxury and subdued elegance.” PROJECT: TOKYU HARVEST CLUB, KYOTO, JAPAN LIGHTING DESIGN: IRIS ASSOCIATES, JAPAN The Tokyu Harvest Club is located in a mountainous area of historical Kyoto city. The architecture and interior design feature traditional Japanese details, but also infuse modern Japan and current trends. The lighting designed by Iris Associates is similarly refined, blending grace and tranquility with the interiors. The wood ceiling illuminated by buried LED lights welcomes visitors to the entrance lobby. The central art object of the space is lit by fiber optic illumination like scattered stars, and floodlighting of the custommade super narrow spotlight focuses only on the object. “This lighting is playful, quiet, dramatic and concealed all at once,” one judge wrote.

SPECIAL CITATION: WALL OF DREAMS, VALBY, DENMARK BY RAMBOLL LIGHTING, DENMARK

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TECHNOLOGY & EVENTS

RED DOT WINNERS Manufacturers and designers entered a record number of approximately 5,200 innovations in the Red Dot Award: Product Design 2016. With 1,304 products awarded a ‘Red Dot’, here’s a selection from the ‘Lighting and Lamps Category’. Manufacturers and designers entered a record number of around 5,200 innovations in the Red Dot Award: Product Design 2016. The jury was also bigger than before, with 41 experts coming together to assess each object live and on site over a period of several days. The jury awarded a total of 1,304 products, with 79 entries bestowed with the honour of the top award - the ‘Red Dot: Best of the Best’; 107 won an Honourable Mention. Out of the 57 countries that put themselves forward, the ‘Honourable Mention’ went to projects with a well-executed aspect of design work. According to the rules of Red Dot, only freelance designers, design professors and specialised journalists are appointed to the

SUPERSYSTEM II Zumtobel Flexibility and a minimalist design language characterise the SUPERSYSTEM LED lighting system from Zumtobel. The product family has been expanded with the launch of the second generation. The latest LED technology facilitates a high degree of miniaturisation and excellent light quality. The result is a modular system on a low voltage track base for a wide variety of different tasks in the fields of retail, museums and galleries, hotels and restaurants, conference rooms and residential. The luminaire is available with a choice of three spotlight sizes, a framing spotlight for accent lighting, a linear luminaire for horizontal requirements and a wall washer for homogenous vertical illumination. www.zumtobel.com

jury – not designers employed at companies potentially participating. The degree of innovation, formal quality, functionality, and ecological compatibility are some of the criteria used to reach a decision. The Red Dot Design Museum Essen exhibits the award-winning products from 4 July, and the Red Dot Design Yearbook 2016/2017 also presents the award-winning products. All of the products and their makers are also featured in the online presentation and on the Red Dot 21 global design platform as well as in the Red Dot App. Other winners include: MIPOW SMART BULB BTL201, PLAYBULB POOL by Shenzhen Baojia Battetry Tech CO.; Runner by Speedy Young Development; Fiamma by iGuzzini; CHOICE

by Tobias Grau; LED DESK LIGHT STROKE 2 by Bsize Inc; Ray by Inarchi; M-Kopa Solar by M-Kopa Solar Kenya; Hue Bridge v2, LED BR Downlight Range, LED Lamp Ar111, LED Lamp Candle, LED Lamp Modern Classic by Philips; Mega, Mega Square, Gonia by RZBLeuchten; Minilook wood bollard, Ghost by Simes; Opus by apure; Mini Hatter by TONS Lightology; Alluxia by Lextar; Linno Crystal 2.0 by Linno; Oculus by Herrmann Systems; SIMBULB CLASSIC by SIM Lighting Design Company; SLIMLINE 01,02 by Linus Bopp; Rail Spot LINK, Plate by Paulmann Licht; PRANA+ by ESYLUX; Tube Series by Corvi; CSYS Task Light by Dyson. www.red-dot.org

Lunexo LED Trilux The light of the surface-mounted or suspended direct/indirect Lunexo LED can be tailored to individual office requirements and needs of employees. The clean cut design, with its edge lit optical solution, draws the eye but doesn’t dominate a room. The integrated LiveLink light management system and the possibility of automatic, sensor-controlled operation optimises both light and energy consumption. For maximum flexibility, the light colour, intensity and indirect light component can also be separately controlled. www.trilux.com

SylCone Feilo Sylvania SylCone combines contemporary aesthetics and technology with vintage style. The hand-blown glass lamp is available in three designs and incorporates the latest LED filament technology to provide an efficient light source that replicates the warm glow of incandescent lighting with a 2,000K colour temperature. Available with a copper, black, nickel or brass pendant to suit a variety of installations, the flexible base can move up or down the cord and will fit the majority of E27 base types. Designed to conceal the dimmable electronics, the surfacemounted and table lamp versions are also available with a lumen efficacy of 104lm/w and lifetime of 15,000 hours. www.feilosylvania.com

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2nights Linea Light

Linea Glamox Luxo Glamox Luxo freestanding luminaire Linea has been awarded with the Red Dot, the international distinction for high design quality. Linea is an elegant freestanding luminaire for office environments. It has a lean yet strong, rounded pole and stylish aluminium lamp head with a height of no more than 25mm. The slim head is made possible by Linea’s use of modern LED technology, which takes very little space while providing light of exceptional quality. www.glamox.com/uk

Solvan Flow LED Trilux Architects, designers and end-users are given maximum flexibility with the Solvan Flow LED. Accents are set by a single suspended luminaire or seamless continuous lines can also be created with ease. Further diversity is provided thanks to flexible mounting methods, various lumen levels and different optical systems. Compatibility with light management systems makes the intelligent all-rounder the ideal start for connectivity. Ideal for office or education applications. www.trilux.com

Entirely aluminium, the 2nights wall light has a 4W powerLED circuit, featuring CRI90 and three MacAdam steps for excellent colour reproduction. This is integrated into a directional element with a warm white emission, the ideal light for reading. The same element, at right angles, conveys the emission upwards through an opening which can be fitted with interchangeable decorative filters. The product is available in combinations: white-white, black-black, whitecopper, and black-gold, with further customisation possible using patterned, neutral matt or coloured filters. www.linealight.com

Cloud Guardian Unibrite Technology Smart Lighting using IOT is changing the lighting industry, calling on LED illumination to be connected to the cloud. Cloud Guardian, with a patented technology inside, utilises the Snell Law theory and merges the mechanism of light refraction and reflection. It redirects the light path using an optical lens and changes light shapes through different lens curves. It clears the space on the top of the lamp to provide an ideal location for BLE signal, free from obstruction. www.unibrite-tech.com

FLEX Luctra Available in orange, black, white and aluminium finishes, FLEX can operate as a table or wall lamp. Its angled design supports itself against a wall or the side of a table by using a heightadjustable rubberised protective sleeve. FLEX’s integrated lithium-ion battery is capable of powering the lamp for up to ten hours, delivering portable human centric lighting. The biologically effective light is able to replicate daylight, with its cold white and warm white LEDS that produce an illuminance of up to 1,000 lux, and between 2,700K and 6,500K. FLEX’s lamp head can be rotated 180° to provide direct or indirect lighting. With a height of 136cm, the cordless workplace lamp weighs just 2kg, allowing for easy relocation. www.luctra.eu

SUPERSYSTEM Outdoor Zumtobel Zumtobel has used the development of the SUPERSYSTEM outdoor LED luminaire to offer a new approach to the task-specific illumination of roads, squares, streets and façades. Targeted space-defining illumination of outdoor areas is now possible thanks to modules featuring a series of beam patterns based on the SUPERSYSTEM range for interior lighting. A key aspect of the product family is adaptability. Interchangeable components can be combined as required thanks to the highly compatible modular system and a consistent design language. www.zumtobel.com

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TECHNOLOGY & EVENTS

Flat Series Corvi

Drum Arkoslight Drum, designed by Arkoslight’s Head of Design, Rubén Saldaña, is a large dimension downlight, for surface or suspended mounting, offering major luminous flux and apt to be unhooked from the ceiling as you wish. Drum is dimmable, to adapt the light volume to the specific needs of each application. Formally, its design is expressed in a circular strip, slightly arched towards the centre, and a minimum bezel. The luminaire boasts an excellent light diffusion in the entire illuminated surface and a seductive effect of natural light clarity. www.arkoslight.com

74 R/Q LED Trilux The new 74 R/Q LED, with its softly formed body and indirect light component, features an elegant appearance and creates a pleasant ambience. The luminaire is available in round (74R) or square (74Q) versions as well as Active (WW) and RGBW variants. Designing with either surface-mounted or suspended luminaires, alongside a raft of frame accessory options provides further flexibility. Combining with a light management system increases the level of energy efficiency and opens up the potential of delivering Human Centric Lighting. www.trilux.com

Profile Fluxwerx Profile is a linear LED pendant luminaire with hollow aperture design, delivering longitudinal clarity and transparency through the fixture. Using vertically oriented optics, without horizontal lenses or diffusers, it has complete absence of glare. Profile is available in direct and direct/indirect versions, as well as vertical surface illumination (VSI) and symmetric and asymmetric distributions. Manufactured in four and eight-foot nominal sections, it can be installed individually or in continuous runs. Its agnostic drivers can be integrated with any sensor, lighting control or building energy management system. www.fluxwerx.com

The Flat series manifests itself in a square and round form. One of the thinnest recessed luminaire, its minimalist tone achieves beautiful aesthetics. These products boast great functionality, with up to 150lm/w, an inbuilt driver, dimmability across the range and power features packed within 30mm of product height. This luminaire series argues the redunancy of the metal heatsink, and seamless design engineering. With a UGR value of below nineteen, Flat series is easy on the eye and glare is controlled. www.corvi.com

ACANEO Waldmann CAELA Zumtobel The new CAELA LED luminaire family from Zumtobel and GRAFT Architects meets the demands that can be placed on a decorative task luminaire. A slim design and two different kinds of light distribution define this LED luminaire range. Alongside the standard symmetrical light distribution, a square version of the wall-mounted luminaire features an asymmetrical distribution that has been optimised to meet the lighting requirements in corridors and staircases. CAELA appears slim and elegant as a wall-mounted, ceilingmounted or pendant luminaire, adding a decorative touch in offices, restaurants and in residential areas. www.zumtobel.com

ACANEO is a long-life LED spotlight that permits efficient illumination of factory halls up to 30-metres high. With advanced LED technology, a light yield of up to 140lm/W and life cycle of more than 60,000 hours (L80B10), it offers impressive energy and economic efficiency, with optimised lighting technology for well-distributed lowglare hall illumination. The downlight works reliably in dusty, humid and oily air and can be used in temperatures of more than 50º Celsius. www.waldmann.com

LUNEXO LED THE SMARTER LIGHT FOR MORE COMFORT www.trilux.com/lunexo

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LATEST PICKS

We bring you a selection of some of the industry’s newest products.

CITILED COB Series VIVID Type Marl

The CITILED COB Series is now available with four colour variations, White (4,200K), Warm, (3,400K), Warm Plus (3,200K), all of which with a colour rendering greater than Ra90, and an additional Light Pink, (3,700K and Ra65). Offering more faithful colour rendering, these products are ideal for retail and commercial lighting applications, ranging from bright white light illumination, warm lighting atmospheres and simulation of many types of conventional lighting technologies. www.leds.co.uk

Vega Family Heper

Cantax ERCO The Cantax recessed track spotlight features clear lines, brilliant light and precise light distribution. Ideal for shops and museums, it’s available in different sizes and shallow recess depths that facilitate easy ceiling integration regardless of the space’s height. Thanks to the tiltable and rotatable luminaire head, it can be adjusted individually. The efficient system of collimating and interchangeable Spherolit lenses provides the designer with a variety of light distributions. www.erco.com

The Vega product family is using Heper’s latest HYBRID technology - a specially designed optical system that combines the reflector with an additional lens, which provides several advantages compared to the classical approach. With HYBRID, the user can have control over light beam, glare control and high efficiency, all combined in one system. The family has a lumen package starting from 450lm up to 3,000lm with CCT options as 3,000K, 4,000K or RGB White. www.heper.eu

One O/M

XOOTOO LED Linear Small, innovative, of high quality and equipped with the latest LED lighting technology – XOOTOO meets expectations in virtually every area. Set into a small aluminium profile, the linear LED luminaire is inconspicuous and provides a direct / indirect emission characteristic. It is highly modular by using up to fifteen different LED lamps with up to 4,000 lm/m and a range of decorative diffuser and functional reflector optics. Thus it is ideal for demanding lighting tasks from ambient to task lighting. www.led-linear.com

One is a ceiling-recessed luminaire with precise beam angles for general and accent lighting. It is the first range of downlights to use Lightcore, an optic micro-reflector developed by O/M and Bartenbach. One offers a defined beam with no light spill and excellent glare control. Using one of the best LEDs on the market, One provides great comfort and colour rendition, with a CRI of over 90. The luminaire is available in three different sizes and three beam angles. www.om-light.com

Flute Optelma Flute is a testament to Optelma’s familiarity with curves. Performance is seamlessly blended with efficiency and style in this new range of recessed linear profiles and downlights. The fluted design provides a softer more organic finish that complements any ceiling; the diffuser is set back into the light offering a discreet light source. Due to the partnership with Philips the linear Flute uses the latest Fortimo LED boards and drivers offering up to 150 lm/w. www.optelma.com

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TECHNOLOGY & EVENTS

BIONIQ Prolicht

Lightdrive+ Osram

The BIONIQ is the ideal solution for demanding lighting designs, whether in shops, hotels, galleries or restaurants. The spots can be rotated and tilted almost simultaneously using a concentric system (EAS – Encapsulated Adjustment System). This allows precise adjustment, guarantees precision lighting and is simple to set (ONE-LOCK system). The system is fully enclosed, ensuring zero light leakage. With an optional natural dimmer function that automatically adjusts the light colour, the product comes with an additional lens pack and special LED lenses. www.prolicht.at

Commissioning and programming is both simple and intuitive with Lightdrive+. Various scenes, zones and effects are easily set using a rotary button. Programming knowledge or software is not required and the operating terminal, designed for wall mounting, features a high quality glass surface. The controller is compatible with all monochrome, dynamic white and RGB or RGBW luminaires. Lightdrive+ is especially suitable for dynamic light control in small to midsized retail outlets, restaurants and lounges. www.osram.com

Clip Multiline Clip is characterised by sleek lines connected at 90°, resulting in a minimalistic design. Available as a bollard, post or wall luminaire, the front part contains the LED module with a capacity of 6W (bollard and wall), and 30W for the post, offering a colour temperature of 3,000K. The waterproof LED unit is equipped with satinised glass so that light can be softly and uniformly distributed. The post luminaire features an optical lense in order to prevent a direct glare. Like all other exterior lighting from Multiline, Clip has a weatherproof powder coating, available in white, black, grey aluminium and anthracite. www.multiline.be

SLASH Targetti This LED track mounted projector is designed to provide a cost-effective solution for the retail environment. A design and production process focused on details has led to a high quality, high performance and energy efficient LED track lighting solution. Available with different optics, Warm or Neutral White colour temperature, high CRI (Ra 97) and a state-of-the-art COB LED, SLASH is a versatile projector that can meet a variety of lighting requirements. SLASH’s minimal, yet easily recognisable design, is available in a black, white or silver finish to seamlessly integrate into different architectural environments. www.targetti.com

T- Color 6C Studio Due The T-Color 6C is equipped with 63 LEDs RGBW/FC, eighteen Amber LEDs and eighteen UV LEDs, creating a complete spectrum of colours that allows the user to create decorative and artistic lighting effects. Additionally, the presence of UV LEDs is useful for niche applications to emphasise objects and subjects. Weighing only 15.9kg, and a power of 600W for a total light output of more then 25,000lm, the T-Color 6C is easy to handle and to transport. The cables have been hidden within the bracket to allow an easy and quick installation. www.studiodue.com

CLE Quadrant G2 Advanced Tridonic With three new sizes available with diameters of 522mm, 802mm and 1,082mm, one module consists of four segments that can be combined and extended with additional ring segments for extra large luminaires. The second generation modules need no lenses, but ensure a homogeneous illumination with no shadow effects through the close-fit arrangement of numerous LEDs. The CLE Quadrant G2 Advanced modules achieve an efficiency of up to 185 lm/W, with various colour temperatures of 3,000K, 3,500K and 4,000K available. A CRI 80 and narrow colour tolerances corresponding to MacAdam3, combined with the manufacturer’s own LED drivers, provides an efficient solution for dimmable luminaires with a homogeneous light emission. www.tridonic.com

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

3D LED Flex 100 Z3 system with Xicato XTM LED modules Modular, 3D flexible LED linear lighting system Up to 7,000 Lumens per Mtr. Up to 98 CRI. Mondo Ad April 2016.indd 1

All products designed by

11/04/2016 11:25:18

Established in 1986, CD+M Lighting Design Group is an award winning design firm that provides professional services covering a full spectrum of projects: hospitality, retail, public realm to theme parks, museums, offices, towers and healthcare.

Junior / Intermediate Lighting Designer

A global firm with offices in Atlanta, Beijing, Dallas, Dubai, London and Los Angeles, we currently have the following vacancy for experienced and talented lighting design professionals:

We are looking for a lighting designer to join our friendly and busy London office.

DUBAI STUDIO: SENIOR LIGHTING DESIGNER Applicants applying for this position must have at least 5-8 years of experience in architectural lighting design (preferably with a degree in lighting design) and must be fluent in English. Ideal candidates must possess a comprehensive knowledge in international lighting, controls and industry practices and will have proven experience with AutoCAD, Adobe InDesign, Photoshop, Dialux, Sketchup, Revit and Microsoft Office. Lumion is a plus.

PJC Light Studio is a lighting design practice based in central London working on a portfolio of prestigious lifestyle projects worldwide including hospitality, high end retail, residential, art galleries, exterior buildings and landscapes. Ideal candidates will have at least 2 yearsâ&#x20AC;&#x2122; experience in architectural lighting design and be proficient in AutoCAD, Photoshop and MS Office - a knowledge of Dialux would be an advantage and a lighting qualification is preferred but not essential. You will be motivated and enthusiastic with the ability to thrive under pressure and manage a busy workload under supervision. A passion for lighting design and attention to detail are qualities that are highly valued.

We are looking for indivilals with potential for professional growth, career advancement, and the opportunity to help us craft new and exciting projects every day. They should aslo have the ability to design & manage various types of projects and have great team work spirt. Please email your cover letter explaining your interests, CV and your portfolio to info@cdmlight.com For more information about CD+M, teams and projects, please visit our website www.cdmlight.com

If you are interested to apply please send your CV and any portfolio work to design@pjclightstudio.com

Atlanta + Beijing + Dallas + Dubai + London + Los Angeles

www.into.co.uk

into is an award-winning multidisciplinary lighting design consultancy with over 37 years of experience in providing lighting design services for projects throughout the world. We currently employ over 40 staff across two offices and are looking to further expand our London team with the following: 1 ASSOCIATE 2 SENIOR LIGHTING DESIGNERS 1 MIDDLEWEIGHT LIGHTING DESIGNER 2 JUNIOR LIGHTING DESIGNERS 1 PROJECT DEVELOPMENT MANAGER / CLIENT HANDLER We are offering a highly competitive remuneration package, commensurate with experience. The package includes profit share, a company pension scheme and private healthcare. For further information visit www.into.co.uk/recruitment All applications will be treated with the utmost confidence. Please apply in writing toÂ Claire Speller hr@into.co.uk You should include your educational history, employment history, a list of lighting design projects you have significantly contributed to, examples of your work and your salary requirements. Excellent written and spoken English is essential.

TITLE : REGIONAL SALES MANAGER | POSITION TYPE : PERMANENT | DEPARTMENT : SALES | LOCATION : RSM MIDLANDS AND NORTHWEST 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

• Entrepreneurial environment • Innovation is in our DNA!

• Think Global Act Local Approach • Continuous training provided to all employees

KEY RESPONSIBILITIES

QUALIFICATIONS & SKILLS REQUIRED

• • • • • • • •

• 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

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

To apply please contact Nicola Livesey on email: nlivesey@lumenpulse.com

ADVERTISERS INDEX Acclaim............................................................ 39

GILE............................................................... 105

Lumenpulse........................................... 175, 121

Aion LED......................................................... 53

Glamox............................................................ 67

MBN................................................................ 99

Anolis.............................................................. 4,5

Griven.............................................................. 19

Neonlite........................................................... 37

Appelec......................................................... 137

Guangzhou International Lighting Exhibition.105

Nicolaudie....................................................... 17

Architectural Area Lighting............................ 179

Guzhen Lighting Expo .................................... 16

OM Light......................................................... 29

Artemide.......................................................... 89

GVA................................................................. 93

Optelma........................................................ 115

ATEA Lighting................................................. 41

Hacel.............................................................. 6,7

Osram Lighting Solutions.................................. 2

Bega................................................................ 35

Heper............................................................... 15

PJC Light Studio............................................ 174

CD+M............................................................ 174

IALD............................................................... 141

Precision lighting............................................. 25

Chromateq...................................................... 75

Illumination Physics........................................ 8,9

Prolicht........................................................... 107

CLS.................................................................. 14

Insta................................................................. 73

Remote Controlled Lighting............................ 81

Codega Prize................................................. 154

Into Lighting.................................................. 174

Rising Dragon Technology............................ 171

Concord........................................................... 49

ISTL................................................................ 173

Signcomplex.................................................... 12

Cooledge........................................................ 51

Kim Lighting...................................................... 3

StrongLED....................................................... 13

darc night................................................... 10,11

KKDC............................................................... 31

Studio Due.................................................... 131

David Morgan Associates.............................. 173

LEC Lyon........................................................ 139

Trilux.............................................................. 169

Design LED.................................................... 139

LED Linear..................................................... 180

Unilamp......................................................... 123

Dial.................................................................. 75

LEDYi............................................................. 131

Vode.............................................................. 107

Erco................................................................. 23

Lee Filters ..................................................... 109

Wibre............................................................... 91

Euchips.......................................................... 147

Linea Light....................................................... 83

Wila............................................................... 101

Forge Europa................................................. 129

LPS................................................................. 160

Xicato.............................................................. 59

Gia Equation.................................................. 174

Lucent.............................................................. 21

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.

EVENT CALENDAR

China (Guzhen) Int’l Lighting Fair 22-26 October Guzhen, China www.gzlightingfair.com/en/home

Light India 5-7 October New Delhi, India www.light-india.in.messefrankfurt.com

Illuminotronica 6-8 October Padua, Italy www.illuminotronica.it

Codega Prize 7 October Venice, Italy www.premiocodega.it

Rethink the Night! 10-14 October Kea Island, Greece www.rethinkthenight.com

darc night 15 September London, UK www.darcawards.com

London Design Festival 17-25 September London, UK www.londondesignfestival.com

LED China 19-22 September Shanghai, China www.ledchina-sh.com

LpS 20-22 September Bregenz, Austria www.led-professional-symposium.com

Strategies in Light 28 February - 2 March, 2017 Anaheim, USA www.strategiesinlight.com

Light-Tech Expo 18 - 20 January, 2017 Tokyo, Japan www.lightingjapan.jp

Japan Lighting Expo 14-16 December Tokyo, Japan www.lightingjapan.jp

Strategies in Light Europe 23-24 November London, UK www.sileurope.com

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

W WW. D A RC W A R DS. C O M

CELEBRATING THE BEST IN LIGHTING DESIGN

Light Middle East 31 October - 2 November Dubai, UAE www.lightme.net

Hong Kong International Lighting Fair 27-30 October Hong Kong, China www.hktdc.com

MATELEC 25-28 October Madrid, Spain www.ifema.es/matelec_06

IALD Enlighten Americas 13-15 October Puerto Vallarta, Jalisco, México www.iald.org

LED + Light Asia 28-30 September Singapore www.ledlightasia.com

Shanghai International Lighting Fair 31 August - 2 September Shanghai, China www.light-messefrankfurt.com.cn

Light Symposium 12-14 October Wismar, Germany www.lightsymposium.de

ALAN 2016 26-28 September Cluj-Napoca, Romania www.artificiallightatnight.org

InterLumi 6-8 July Panama City, Panama www.inter-lumi.com

178

INSPIRATIONS / #37 ALEKSANDRA STRATIMIROVIC

CURATED BY