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
#96 2017
DESIGN MUSEUM, LONDON
DESIGN ICON NEW DESIGN MUSEUM SHINES IN LONDON
issue 96 * February/March 2017
DANIEL STROMBORG AND LAWRIE NISBET INTERVIEWED • LIGHT ART FESTIVALS LONDON MUSEUMS • RETAIL LIGHTING • DARC ROOM • ISOTERA REVIEWED
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CONTENTS
[feb/mar] Front cover pic: London’s new Design Museum. Pic: Gareth Gardner
044 Lawrie Nisbet Mrinalini Ghadiok caught up with Nisbet to talk lighting architecture and career ‘accidents’.
Pic: Courtesy LDPi Team
DETAILS 022 Editorial Comment An exciting new lighting exhibition in London is announced by the editor. 024 Headlines The latest architectural lighting industry news. 026 Eye Opener Light is Time, Nagano, Japan 028 Drawing Board Our preview of proposed projects. 032 Spotlight The latest projects with the wow factor from around the world. 040 Briefing Pierre van Lamsweerde, CEO of Nordeon Group. 042 Snapshot We feature Studio Dinnebier. 044 Lighting Interview Lawrie Nisbet, Managing Director of Lighting Design Partnership International talks to mondo*arc india editor Mrinalini Ghadiok.. 052 Architect Profile Daniel Stromberg of Gensler discusses his new found love of designing lighting products. 178 Inspirations Steensen Varming.
ART & DESIGN 112 Permanent Projection James Murray discusses the future of architectural augmented reality. 118 Amsterdam Light Festival We reflect on the 2016/17 light event’s installations found in the Dutch capital. 120 Lyon Fête des Lumières Graham Festenstein discusses his favourites at this year’s French festival of light. 122 Illuminating York We take a look at SLL’s student workshops. 124 Lightpool A brief overview of the newest light art festival in the North of England. 126 Lightwaves We look back at the Quays Culture festival in Salford, Greater Manchester. 128 Winter Lights Highlights from Canary Wharf’s celebration of light art. 130 LewesLight Installations of note from the second edition. 132 Made in Hull Durham Marenghi’s hometown illumination. 134 Dark Source Stories Kerem Asfuroglu’s latest dark vision of light.
TECHNOLOGY 136 IALD Column Reiko Chikada, Michael Gehring, and Birgit Walter discuss interview strategies. 139 Geoff Archenhold Dr. Archenhold takes a look at the latest trends in the world of retail lighting technology. 144 Case Studies A selection of international projects from leading lighting manufacturers. 162 David Morgan David Morgan looks at the Isotera contactless power system. 164 Retail Product Guide We take a look at some of the latest in retail lighting products ahead of Europshop. 170 Architect @ Work A few product highlights from the London show. 172 New Products A selection of the latest lighting product additions. 176 Expo Diary What events are coming up in 2017.
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[feb/mar] 088 Online A look at the eye-opening Mathematics: The Winton Gallery in London’s Science Museum. www.mondoarc.com
Pic: Luke Hayes
PROJECTS 066 Design Museum, London Showcasing the power of interdisciplinary collaboration, London’s new Design Museum is both an example of, and a place for, exceptional contemporary design, of which ChapmanBDSP and Studio ZNA’s lighting schemes play an important role in creating a space to inspire future generations. 076 Tate Extension, London Following on from its previous design for the original musuem in 2000, Arup’s considered lighting scheme ensures that, while the Switch House’s multitude of spaces express a variety of forms and functions, the old and new parts of the Tate Modern are still perceived as one collective organism.
PROJECTS 088 Mathematics: The Winton Gallery, London Arup’s lighting scheme for Zaha Hadid Architects’ Mathematics: The Winton Gallery combines dynamic and static lighting to showcase the mathematical significance of the 1929 Handley Page Gugnunc aircraft, connecting complex mathematical ideas to every day experience with a striking visual clarity. 094 Kaufhaus des Westens, Berlin, Hamburg, Munich Licht Kunst Licht has developed lighting concepts for three department stores in the Kaufhaus des Westens (KaDeWe) Group. Working alongside renowned architects, the German lighting design studio has provided bespoke lighting solutions that underline the quality of the sophisticated retail spaces in Berlin, Hamburg and Munich, promoting exclusive shopping experiences.
PROJECTS 102 Charlotte Tilbury, London Keeping in style with Charlotte Tilbury’s glamourous image, Nulty has provided a lighting solution that incorporates the latest in LED technology in a way that reflects the vibrant and luxurious shopping experience found at the makeup brand’s new London Westfield store. 106 Yizheng Brand Experience Centre, Zhejiang Province In pursuit of creating a corporate brand experience that intrigues its visitors, United Design Practice has delivered a visual spectacle at Yizheng Stationery’s new Zhejiang Province experience centre that utilises experimental lighting design from Light Collab to achieve impressive results.
Linea Light Group Professional LED Lighting | Product Angular Project “Copat Life” - Pordenone (Italy) Project design Gherardi Studio Photography Alessandro Paderni - Eye Studio
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[editorial] Paul James, editor, writes: It is with great excitement that we can announce the launch of a brand new lighting specification exhibition in London that will break the mould of UK lighting exhibitions. Called darc room, the exhibition is a collaboration between the publishers of mondo*arc / darc magazines and creative consultants, Light Collective. As we all know, London is regarded as a hotbed of worldwide design and lighting specification. This status has continued to strengthen with UK-based architects, designers and lighting designers creating high profile projects all over the world. However, the British capital has been poorly served by high end architectural specification exhibitions in recent years. To appeal to all types of designers in London and further afield darc room will take place at B1, a unique 22,000sqm space in Victoria House in Holborn, central London, from September 21st 23rd 2017 during London Design Festival. This will follow darc awards / architectural which takes place at MC Motors in Dalston, north London on September 14th. The light installations specially created for darc night, the awards event, will be transported to darc room to create a wow factor previously unheard of at UK lighting exhibitions. The exhibiting format will also be completely different to normal trade shows with specially designed modules making the exhibiting experience painless and creative and the visiting experience exhilarating and informative. Being part of the London Design Festival has an obvious advantage to a standalone show in that the city is already buzzing with designers who are looking for inspiration and who set aside time to leave their studios knowing there is so much to see. darc room will give lighting manufacturers the chance to tap in to this market in a convenient location in the heart of London’s design community during London’s biggest design event. Anyone interested in participating or attending darc room should contact me for further details or visit www.darcroom.com.
#darcawards #darcnight
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news headlines
For the latest news stories, head online: www.mondoarc.com Philip Dunbar promoted to Project Development Manager at Into Lighting
darc awards / decorative open for entries (UK) – First darc awards / decorative invites international design community to enter decorative lighting products and projects.
(UK) – Dunbar to develop and manage existing and new clients as Into looks to grow international client base. Read the full story online...
www.darcawards.com/decorative 1
Lutron integrates with Amazon Alexa, Apple Home and Sonos (USA) – Integration of Lutron’s HomeWorks QS and GRAFIK RA 2 systems with Amazon Alexa, Apple HomeKit and Sonos to improve user experience. Read the full story online... 2
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Mark Adams appointed as Chief Executive Officer of Lumileds (USA) – Adams joins Lumileds team to build on innovation pipeline, technology leadership and customer base to drive future growth. Read the full story online... 5
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Ralf Knorrenschild joins Selux board
Tridonic expands into North America
(Germany) – With 29 years’ lighting experience, Ralf Knorrenschild will take charge of Sales, Marketing and Human Resources.
(USA) – Tridonic sets up new New York office and direct sales team to support customers in North America market. Read the full story online...
Read the full story online... 6
(France) – French lighting manufacturer to release art publication in March 2017, marking first 40th birthday celebration. Read the full story online...
7 In pictures
the latest news online
LEC Lyon turns 40 scan QR code to link to
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1 Visit darcawards.com/decorative to enter. 2 New integration indicates further movement towards a connected home. 3 Philip Dunbar, Project Development Manager, Into 4
Jürgen Hess and Ralf Knorrenschild. 5 Mark Adams, CEO, Lumileds 6 Tridonic opens Highland, NY office to serve North American market. 7 LEC Lyon looks back on history with LED since 1977.
EnigmaAdvert_333x236 (retail):Layout 1 14/02/2017 16:59 Page 1
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eye opener Light is Time Saku, Nagano, Japan Located in Saku, Nagano, Japan, the Light is Time installation in the headquarters of Citizen Watch Manufacturing is a stunning example of the fusion of technology and design. The project is the latest in a series of Light is Time installations resulting from the collaboration between the Citizen watch design team and Paris-based architect Tsuyoshi Tane (DGT), which have been designed to explore the relationship between light and time. Installed beneath the 3,000K downlights are strings comprising a total of 19,266 golden Citizen watch plates, the basic component of a watch, creating a stunning and magical space in which the watch plates create a veil of light and reflect golden light throughout the atrium. ISTâ&#x20AC;&#x2122;s partner in Japan, Stellasia Led, provided technical lighting support for the project. After considering several options, Stellasia opted for an iDrive White Knight 36 LED driver and DMX controller to power the downlights installed high in the atrium. The reason why the iDrive White Knight 36 was chosen is because the client required totally flicker-free output, 100% uptime and wanted to avoid installing the LED drivers in the ceiling, due to access issues for installation and maintenance. The iDrive White Knight 36 is capable of powering up to 36 luminaires from one driver and has been installed in an easyto-access location, allowing commissioning and any future maintenance to be carried out at ground level, rather than having to use expensive equipment to reach the ceiling. This is a superb example of practical LED lighting technology combining with art to create a stunning scene within an otherwise traditional office space. www.at-ta.fr www.istl.com Pic: Courtesy LUFTZUG, Yutaka Endo
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[drawing board] The latest exciting works in progress from the world’s most imaginative designers.
JEWEL FROM RUINS Designer Juan José Acosta has developed a scheme that integrates strong architectural gestures and nuanced lighting strategies in his plans to salvage the structure of a mid-century modernist hotel that lies in ruins in the southern coast of Puerto Rico. The plan proposes transforming the space into a residence for homeless LGBT youth, creating a community of support in which the residents will find acceptance, support, and the necessary resources to orient their lives in a positive direction. The main goal of the project is to create a sense of home for the inhabitants by creating common areas where they can interact and develop their social skills. Acosta designed an intervention that preserves and restores some of the original architectural gestures in the façades, but overhauled the interior spaces to take advantage of daylight and used electric lighting to highlight the formal richness
of the structure. The first of the large common areas is the kitchen, situated under a vaulted ceiling that overlooks the Caribbean. “In the original design of the building, the inhabitant couldn’t perceive the presence of the vaulted ceiling from the inside because it was filled with partitions,” said Acosta. In the new design, all partitions are eliminated to allow an open flow of the space. The vaults are uplit from the top of each kitchen station, enforcing the perception of height in the space. The second large common area in the project is the Grand Salon, where the designer exposed the distressed ceiling of the ruin and illuminated it with a cove, a move intended to underscore the age of the structure and to expand the perception of height in the space. For the private spaces of the suites, the designer relied on multiple layers of light,
including asymmetric decorative pendants, floor lamps, and task lights. Each layer of light encourages different activities: task lights by the desk facilitate studying; a mixture of a chair and a floor lamp in a corner create a reading niche; and the dim glowing pendant illuminates the bed area. The perception of the building from the exterior relies mostly on the filtered light from the interior. Due to the undeveloped environment in which the structure is located, Acosta stressed methods to avoid light pollution, including the design of a custom reflector that would allow washing the exterior walls in the pool area from the ground without polluting with direct uplight pointed towards the sky. In general, the solution is extremely energy efficient, with power reductions of 70% for the exterior lighting and 40% for the interior lighting under the allowable energy. www.juanjoseacosta.com
BUILT-IN DESIGN The journey from concept to completion for an integrated façade lighting project can be long and not without risk. The rapid development of integrated LED into the building envelope has brought a new level complication to the design, procurement and construction process. illumination Physics understands the journey and the needs of every player very well. We develop the product, provide a practical solution for the installation methodology, and supervise the installation.
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[drawing board]
FOR THE FANS Philips Lighting has revealed the largest LED stadium lighting system of its type for Australia’s newest sporting venue, Perth Stadium. The stadium plans to use LED lighting to support its mission to become the premier, multi-purpose venue in the southern hemisphere. As part of the West Australian Government’s ‘fans-first’ approach for the stadium, the holistic LED stadium lighting system includes more than 15,000 controllable LED light fittings, which are managed through a control platform. It has the flexibility to create a completely immersive lighting experience for the venue with a capacity of 60,000, making it ideal for a variety of events. The lighting has the flexibility to create a multi-purpose arena for fans to watch anything from their home football and cricket teams to world-famous rock concerts. Music and lighting can be merged together in advance by the lighting operator for seamless implementation, creating visually stunning pre-match light shows. In addition, the LED floodlights meet
the requirements for HDTV broadcasting standards for sports lighting. Chris Palandri Regional Director for Multiplex, the stadium builder, said: “LED stadium lighting is an integral part of the plan to make Perth Stadium the premier multi-purpose venue in the entire southern hemisphere. The lighting will be crucial to delivering an amazing fan experience. The stadium will represent a beacon for the entire community.” The venue showcases the Philips ArenaExperience capability. The centrepiece is the Philips ArenaVision LED pitch lighting system comprising LED floodlights and a control panel. This system can be synchronised with external lighting consoles for other types of lightshows and events. The stadium façade and roof canopy will be lit by Philips’ Colour Kinetics architectural LED lighting with connected LED light points that can be easily controlled. The roof canopy acts as a giant canvas upon which spectacular light shows can be created with patterns and imagery via the
connected light points. Philips Lighting will also provide LED lighting for offices and hospitality areas inside the stadium. David Gardner, general manager, Philips Lighting ANZ added: “On completion, this project will be Philips Lighting’s largest complete LED stadium implementation in the world, and the largest LED multipurpose stadium lighting implementation of its type in the world. The scale of the project really demonstrates how seriously Australians take their sport and events. We at Philips Lighting are proud to install this LED stadium lighting system together with Multiplex for the enjoyment of fans.” The Stadium will be used for, amongst others, Australian Rules Football, Cricket, Rugby Union and Rugby League, Soccer and entertainment events. It is scheduled to open in time for the start of the 2018 Australian Rules Football season. The facility will be serviced by a train and bus station, as well as a pedestrian bridge connection across the Swan River to the city centre. www.lighting.philips.com
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[spotlight] The latest projects with the wow factor from around the world.
Pic: Jim Stephenson
SEVENFOLD IMPROVEMENT When The Met opened its doors in December 2016, following a £4.6million refurbishment, a newly commissioned art installation by internationally renowned artist, Liz West was revealed in the centre of the historical building. The installation, Sevenfold, marked the completion of this project to transform one of the North’s leading cultural live music, theatre and arts venues located in the heart of Bury, UK. The site-responsive piece injects vibrant colours and a sense of illusion into the magnificent entrance and staircase of the Victorian neo-classical building. Light is very important to West’s work, and this is a space that is flooded with natural light, which Sevenfold draws upon to highlight the magnificence of The Met’s 1840s architecture. Sevenfold takes its reference from Newton’s rainbow sequence of red, orange, yellow, green, blue, indigo and violet. Seven (six
prisms in the main installation plus one mini above the reception desk) individual and vast prisms have been created that use mirrors to further radiate colour and reflect elements of the beautifully restored architecture. As visitors ascend the staircase they find themselves at eye level with the artwork, giving the chance to marvel Sevenfold at its luminous best. “We wanted to celebrate the light and sense of rejuvenation that the restoration of this stunning building has opened up and embraced,’’ commented David Agnew, artistic director of The Met. ‘‘The vision of this project is to use the past to illuminate the future, which West’s piece perfectly embodies. As people enter the building they’ll be able to enjoy the visual spectacle of Sevenfold as it radiates against the vastness and intricacy of the Victorian plasterwork.” West added: “I am delighted to be given
this opportunity to make my first permanent installation, it is an honour to be asked to make a new work in such a magnificent and multi-purpose setting. The light-based, theatrical and immersive nature of my work ties in perfectly with The Met and the buildings use. I hope that visitors enjoy my work for many years to come and are able to see new elements within the installation every time they look at the piece.” The refurbishment project has allowed a re-imagination of The Met, which occupies the space of Derby Hall, which, built by the 13th Earl of Derby, shares its architect, Sydney Smirke, with the circular reading room at the British Museum. It’s always been one of Bury’s grandest civic buildings having begun life as a Public Rooms, it’s also been used as the Town Hall, council building and since 1979, as Bury Metropolitan Arts Association. www.liz-west.com
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TURN THE TIDE Eventide is a new dynamic architectural lighting installation on the San Diego, USA skyline, designed by Sosolimited - a boutique design and technology studio based in Boston and San Diego. San Diego County wanted to transform its downtown buildings into an iconic part of the city skyline. Sosolimited worked with the County to design a dynamic lighting system that brings the buildings to life and celebrates the culture of the region. The lighting draws inspiration from the area’s natural beauty, scientific research, and city life. With animations of crashing waves, swaying kelp, radio communication, and creatures in a petri dish, the building façade reflects the dynamic mix of local environments and institutions. The animations were designed with Phosphor, Sosolimited’s custom architectural lighting software. Phosphor allows the team to import and illuminate 3D models of the
buildings and surrounding city. Its advanced shader techniques simulate actual lighting conditions for thousands of light fixtures in real time, running at high framerates even on lowpower computers. The system includes a userfriendly interface for scheduling content on the lights. Cloud based and integrated into San Diego County’s control infrastructure, it has robust security and reliability features. The scheduling system allows County staff to easily change the animations on the buildings for holidays and events. Each night the building displays a series of lighting animations inspired by San Diego life. The lighting reveals crashing waves, swaying kelp, radio communication, and creatures in a petri dish. The installation uses a tight colour palette and graceful movements, creating an elegant impression in the surrounding neighbourhood. www.sosolimited.com
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[spotlight]
Pics: Timothy Soar
ASYMMETRICAL ARRANGEMENT Carpenter | Lowings Architecture & Design has finished the installation of its design for a 40-metre-high integrated artwork across ten storeys of 8 Finsbury Circus, a new office development in the City of London. Folded Light – which has been designed specifically for a slender void space in the building measuring approximately ninemetres by 4.5-metres – serves as a strong visual connection between the lower ground floor and roof. Manufactured from pattern-rolled stainless steel, Folded Light, is an asymmetrical arrangement of mostly triangular, threedimensional folded panels of varying sizes and different folding angles. Together, these create a single continuous rippled surface that appears more compacted toward the bottom as if compressed by the weight of the form above. The angles of the folds are intended to enhance the drama in the existing light conditions by catching natural light from above and contrasting it with shadow below. The entire wall is split by a vertical blade of dichroic glass which separates the spectrum of light into two, complementary sections. This results in a
contrasting range of colours when viewed from either side of the void space. “This was a fantastic opportunity to work in conjunction with Wilkinson Eyre and add a new dimension to the daylight concept of 8 Finsbury Circus,’’ commented Luke Lowings, Principal at Carpenter | Lowings Architecture & Design. ‘‘Folded Light is intended to provide a visual connection between people on every floor in the building with the presence and changing character of natural daylight. While it cannot be viewed as a complete installation from any single vantage point, its different sections are designed to relate individually to each floor, while remaining recognisable parts of the whole.’’ Lowings continued: “The artwork exploits the almost vertical angle of light from the sky: the angles of the dimpled surfaces of the steel which alternately face upward and downward, exaggerate the contrast of light and shade and bring the directionality, mutability, and colour of daylight into the building. “We choose to design in stainless steel because of steel’s particular surface
finish. It is textured to distribute light with minimal glare, something which is a challenge to achieve in other, equally durable materials.” Natural light entering the void space can be enhanced and supplemented by artificial lighting, when required. Cool white light sources from above mimic daylight, while a full range of colours from below increases the dramatic impact of the artwork. Sidelighting at each floor level picks out the colour in the dichroic-coated glass. As well as being a significant, integrated piece of artwork in the new building, Folded Light has been designed to serve a practical function: it conceals and supports the intake for air-handling machinery which is located in the basement of the building, by ensuring that the flow of air through the void space is not obstructed. The void is open at roof level and, consequently, the artwork is designed to be robust and easy to clean. It also serves to conceal an otherwise unexceptional party wall view at the eastern side of the building. www.carpenterlowings.com
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[spotlight]
Pic: James Newton Photography
SKY LANTERN StudioFRACTAL Lighting Design has created a bespoke Sky Lantern light feature for the 11 Soho/61 Oxford Street project in London. Architect AHMM’s design inspiration for the building façade was the 1937 Aalto vase ‐ a design classic. The proportions of the building were based on the footprint required and the double-height ground floor retail unit (leased by ZARA as their new HQ) was based on the history of retail landmark stores on Oxford Street. The previous building on the site, whilst not of distinction, possessed a corner tower of architectural interest. AHMM wanted to recreate this feature with a new corner of architectural merit and sought out lighting designers StudioFRACTAL to create a bespoke lighting installation which would add a sophisticated night‐time presence to the project. Drawing inspiration from the undulating façade and the changing seasons, StudioFRACTAL devised a lightweight colour-changing LED feature within
the three-storey void at the corner of Oxford Street and Soho Street. Based on the changing colours seen in nature, a series of programmes were devised with abstract patterns, colours and sequences. Scale models and on‐site mock‐ups were used to confirm design details and initial programming – with AHMM the internal surfaces of the Lantern were altered to help create optimum internal reflections. StudioFRACTAL designed a space frame housing 2,590 LEDs and associated cabling, installed to follow the undulating glazed façade. All controls are housed within the lantern and run from an automatic timeclock – with the facility for manual control at the ground level reception. The scheme uses flexible strands of high intensity LED nodes from Color Kinetics. The video to the iColor Flex LMX gen2 strands is managed by a Pharos LPC‐X, which is designed for landmark installations and provides 200 universes of DMX control. Working from the design drawings
created by StudioFractal, Architainment’s Technical Services team mapped 2,759 RGB nodes (8,277 channels of control). This was a particularly complex process, since the node design wraps around the lantern structure and is in effect three‐ dimensional. In addition to providing custom length strands of iColor Flex LMX gen2, Architainment also provided an IP rated and cooled equipment rack. This houses the sPDS‐480ca units that provide the power and data for the strands, the network switch, and the LPC‐X. Architainment engineers and studioFRACTAL designers commissioned the solution into operation, and programmed all the timelines and triggers on the Pharos LPC‐X. Attracting attention with its hypnotic colour variations, Westminster Council, British Airways Trustees and AHMM are delighted with the installation – and additional programming sequences have now been commissioned. www.studiofractal.co.uk
Lush Store, Arndale Centre, Manchester. Lighting design by Michael Grubb Studio. Luminaires by Optelma. Light source by Xicato XTM Artist Series. Photo by Lush Digital.
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[spotlight]
ART AND ALGORITHMS Organised by Robert Rauschenberg and Billy Klüver, it has been 50 years since 9 Evenings: Theatre & Engineering, the meeting of art and technology, took place in New York City. Artists such as Rauschenberg, Yvonne Rainier, John Cage, and Deborah Hay collaborated with engineers from Bell Labs to create nine evenings of performances that incorporated the cuttingedge technology of the time. 50 years later, the 9e2 exhibit embraces that same spirit of experimentation and collaboration in Seattle at its King’s Street Station. One piece featured, The Skies Epitomized II, is a series of artworks exploring the essence of the sky from the perspective of humans gazing at it. We have one sky, but the experiences are infinite; people have
been turning their eyes towards the sky for meaning and guidance since prehistoric times. The piece investigates what one sees when gazing at the sky in peaceful parts of the world such as Iceland and New Zealand, and what does the sky look like in the most conflicted areas in the world such as Syria and Iraq. This work is a continuation of collaboration, The Skies Epitomized, between Maja Petrić and Nebojša Jojić that was initiated at Microsoft Research in 2015 on the topic of combining art and machine learning algorithms to summarise and present large amounts of data (The Skies Epitomized is permanently exhibited at Microsoft Research).
For this installation, artist Petrić used a machine learning algorithm created by Jojić to create epitomes of five skies that are representative as skies in most peaceful countries of the world, and the most conflicted countries based on the Global Peace Index. To build the epitome of a Syrian sky, for instance, they set the software to look at results for searches including ‘syria+sky+skies’. The software looked at all of these images and sucked in bits and pieces of them, using them as brushes to paint the ‘sky epitomized’—the epitome of what people associate with a Syrian sky. www.majapetric.com
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[briefing] Pierre van Lamsweerde, CEO of Nordeon Group, discusses the company’s business strategy and their most recent acquisition of Lamp Lighting. It all started with the acquisition of the Philips manufacturing sites. How did this come about? Varova, our investor, had been studying the lighting market for a long period. The conclusion was clear: midsized lighting companies create significant added value and profitability through their focus and agility. With the changes caused by the transition to LED, the lighting industry was (and is) undergoing a kind of ‘creative destruction’, which offered the opportunity to enter this market and to create a new kind of lighting company: focused and agile through its brand, and strong and perseverant through the scale a group can bring. Thanks to a disinvestment by Philips, the possibility arose for us to lay solid foundation for the development and growth of the Nordeon Group, by taking over one of the largest production sites of LED products in Europe – the plant in Springe, Germany. What is your role at the Nordeon Group and how did you get there? After completing my Masters in Economics at the Erasmus University in Rotterdam in 1994, I had been working in various positions at Philips until 2006. After eleven years in consumer electronics, I was orientating myself to change industry, to see if I could add value in a totally different industry. I spoke with the Philips lighting team, who convinced me that lighting was much more than incandescent bulbs, much more than just switching on and off, that light could make plants grow, bring shoppers to spend more in stores, bring safety to city centres and, with the transition to LED, an exciting journey lay ahead, in which my high volume electronics experience could be useful. I fulfilled various roles, and was given the responsibility of the Retail and Hospitality business for EMEA. In 2011 I got introduced to Patrick van Rossum of Varova, who shared his lighting plans with me, and then at the end of 2012 I resigned in order to start at the Nordeon Group. Since 2013 I have been CEO of the Nordeon Group. The role has changed a lot since the start, and will continue to do so as we grow the group. In the first year it was building the Nordeon brand, the product portfolio and the commercial teams. Now the role is focused on grasping the synergies that our group offers to the seven brands we have, making sure we have the right people in place, and driving innovation. You have acquired a number of companies over the last couple of years. What was the strategic decision behind these acquisitions? We have five different synergies that we pursue within the scope of an acquisition. Synergies can mean introducing new products, technologies and markets into the group. On the other hand the Nordeon Group offers the companies a strong scale: scale in purchasing, scale in sales through a global commercial infrastructure and scale in innovation, all in order to accelerate their own growth dynamic. Next to products and technologies we also focus on geographic market coverage. You can see this quite strikingly in the Nordeon Group’s most recent acquisition, namely that of Lamp Lighting. With Lamp Lighting’s locations in Spain, Chile, Columbia and Mexico we are tapping into new markets, which until now have been unserved by
the Nordeon Group. And vice versa, through the Nordeon Group, Lamp Lighting will grow faster in our key markets like UK, Middle East and USA. What attracted you to acquire the most recent company, Lamp? Lamp Lighting presents itself as an extremely attractive business for us. Based near Barcelona, the company has design at heart and combines this with technology and innovation. For me this acquisition is a prime example of a classic win-win situation. It is a successful Spanish company founded and managed by the Cusido family. They had successfully taken their company through the 2008 crisis, and once back in their growth mode, they concluded they would need to partner up in order to remain successful. They realised they needed scale, in purchasing power, in innovation, in market access in order to be able to play according to the new rules in the LED times. On the other hand Lamp Lighting will explore the wide technological and industrial base of the Nordeon Group and market its products via Nordeon Group’s worldwide trade and support infrastructure. All in all, the Nordeon Group and Lamp Lighting enjoy the best growth prospects. Are there more acquisitions to come? The pace, with which we have progressed in the last few years, has been very fast – especially last year in 2016. Now we are amongst the top businesses in the lighting industry. It is not our aim to be one of the largest businesses in the industry. We want to be the most agile. The businesses must offer synergies in at least two of five areas mentioned earlier – so if we find more companies that fulfil this, we will add those. We have to use our sense of proportion – that’s how we have acted so far and that’s how we will continue to act. Last but not least, there is always the question of what possibilities the market has to offer. And that, as you can imagine, is something you don’t always have control over. Do you plan to change the structure and strategy of the companies Nordeon Group have acquired? Our strategy is successful so I don’t foresee any changes. We are working more to optimise the structure, to make sure we grasp the synergies, to make sure it’s clear for all of our 1000 employees how things work. So no major changes, but definitely improvements will be implemented. Many established businesses belong to the Nordeon Group – think of Hess providing lighting for outdoor areas or WILA and Schmitz for indoor areas. These are businesses with their own history, their own identity. We strive to protect and strengthen these identities. Of course we have synergies in the group – but these serve to strengthen the businesses and to improve performance and the products themselves. In this way the entrepreneurial scope increases thanks to group membership, as does concentration on core activities – completely in the interests and for the good of the customers. How do you see the lighting industry developing in the future? Light is becoming more and more intelligent and a part of our whole infrastructure. In outdoor areas the necessary infrastructure ‘light’ will be used for other functions and tasks – and multifunctional elements, depending on the location of the light, will play an increasingly important role. In indoor areas there will also be strong networking – whether in industrial and commercial sectors or in the private sector. In short: Smart Home, Industry 4.0 and Smart City will shape light and the luminaires of the future decisively. www.nordeon-group.com
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[snapshot] Founded in 1998, Studio Dinnebier understands light as an important part of architecture and works on the conceptual relationship between light and space, understanding light as shape, colour and atmosphere. As a studio of architects in lighting design, its aim is to make light an integral part of the architectural space. FORTRESS KÖNIGSTEIN SACHSEN, GERMANY The west part of the fortress, build at the end of the 16th century, was renovated from 2008 until 2015 and converted into a permanent exhibition. The historical architectural layouts from the time of August the Strong were recovered and were made legible again. The lighting design concept emphasises this building with its vaulted rooms. Wall mounted lights with an indirect component highlight these impressive architectural sculptures, which have been carefully positioned on the partly painted walls. The luminaires, with their smooth surface, have a customised finish matching the wall paint and are equipped with LED technology that limits the brightness on top of the fixtures. In certain areas small adjustable surface-mounted ceiling spotlights are used to illuminate singular exhibition objects. The basement and the exit ramp are illuminated in a modest way using spotlights. With the opening in May 2015, after eight years of planning and building, the castle was handed back to the public with a great opening ceremony.
BEYAZIT STATE LIBRARY ISTANBUL, TURKEY Founded in 1884, Beyazıt State Library is one of the oldest state libraries in Istanbul and has a rare collections of books. The building next to the Beyazit Mosque near the entrance of the large bazaar was built in 1506 as a shelter for travelers and was used in various ways. During the sensitive renovation by Tabanlioglu Architects, the impressive interior with its seventeen
domes was repaired, including a light roof construction which covers the patio. The lighting design concept highlights the large domes with indirect illumination. Ring shaped pendants with a dynamic suspension were constructed for this purpose and hung from the centre of the domes. The new floor and the shelf installations are articulated by lighting coves. Pendants and
luminaires with direct-indirect components were installed in the patio and mounted to the steel braces which reinforce the vaults. With their power supply integrated in the new floor, minimal surface-mounted luminaires were installed in the tables, showcases and shelves. The renovation ensures the spirit of this venerable building is kept alive and prepared for the future.
Pics: Emre Dörter
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Pics: Robert Herrmann
POTSDAMER STRASSE 91 BERLIN, GERMANY The heritage-protected group of buildings “Potsdamer Strasse 91” with its mix of residential and commercial spaces was built between 1860 and 1883. It is a vivid example of the economic recovery in the district Berlin-Schöneberg during the “Gründerzeit” period. It consists of a front-building, a side-wing, an old villa and an industrial building, which are grouped along an elongated court yard. During the restoration by AHM Architekten, the staircases were equipped with pendants and wall-luminaires to match the character of each building. The entrance was kept in its original state and large ring-shaped luminaires were installed. These are
visible from the street and invite in to the courtyard. The long courtyard has cables fixed in a zigzag form and spherical light objects are spread in an irregular arrangement. The spheres are black on the upper side, softly illuminating the court with the light to the façades decreasing smoothly towards the top. A lighting control system regulates the illumination according to time of day and year. In the summer months the warm dimming of the luminaires gives cosy light to the exterior areas of the restaurants. This installation symbolises the self-confidence of the new fashion and gallery scene in the Potsdammer Strasse as a place to be in West-Berlin.
VENICE BIENNALE VENICE, ITALY In 2014 Turkey acquired a permanent space at the Venice Biennale for the next 20 years. Places of Memory, curated by Murat Tabanlıoğlu, was the first exhibition of the national pavilion, in which Turkey had the chance to express its architectural and urban approach at the International Architecture Exhibition. Six works of artists using the topic ‘100 years of Turkish architecture’ were presented on two parallel black walls. The tight spaces inbetween the walls were filled with the Atatürk Cultural Center by Hayati Tabanlıoğlu, showing its changing history, with the lighting designed by Johannes Dinnebier. The lighting for this exhibition was designed, planned and installed by Studio Dinnebier.
STUDIO DINNEBIER The studio was founded in 1998 by Jan Dinnebier. After working as an architect he came back to the field of his father’s practice. Studio Dinnebier operates under the brand name LICHTLICHT with a team of architects, lighting and product designers. The collaboration with architects, project developers and exhibition designers has lead to the realisation of numerous projects in Germany, Turkey and many other countries. Starting with museum projects, the studio has worked on all types of programs, offering the full scope of works as well
as conceptional, design or technical support and the construction of custom fixtures or entire ceiling systems. In addition to lighting design, the studio designs and develops new products for luminaire and component manufacturers. From 2007 till May 2016 Jan Blieske has been partner of the studio. The collaboration between Jan Dinnebier and Jan Blieske has lead to award winning products like the Seventies-, the FlatBoxLED Series and the hidden intrac adapter. www.studiodinnebier.de
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Pic: Courtesy LDPi Team
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AN INTERNATIONAL PERSPECTIVE Lawrie Nisbet, Managing Director of Lighting Design Partnership International recants his share of ‘accidental’ incidents that shaped a three decade long career, undulating over architecture, design, professional rugby and a specialisation in lighting of the built environment. Nisbet chats with Mrinalini Ghadiok, editor mondo*arc india, about some of his favourite things along the way.
“I would never call myself a lighting designer…” exclaimed Lawrie Nisbet, calmly but pointedly, as I introduced the idea of this interview to him. He went on to complete his sentence, “…I am a lighting architect.” What could easily be confused as one of the same things, I understood what he meant – as an architect myself, I empathise with his sentiment. He clarifies, “My training is in architecture and urban design, which encompasses what you do and don’t do with light. It is a critical part of the larger process.” For Nisbet, light and lighting are one of the many aspects of design, he just happens to specialise in the field. I guess he also just ‘happens’ to be one of the most sought after designers of light, with projects that range from small boutique hotels to high end residences, posh commercial spaces to institutes and award winning design competitions, of course dotted across the face of the earth. Nisbet’s story is an interesting one, speckled with various ‘accidents’ as he terms them; these very incidents being what have shaped his journey and exploration in the field of design, with a special interest in light. “My father was an architect, and a teacher of architecture and Urban Design. So I grew up with it, in that environment. It became a part of my DNA, and I ended up doing architecture… with no particularly
great desire to do so.” This was one of the first accidents that plunged Nisbet into the conundrum of design. Having completed his studies at the Edinburgh College of Art, Nisbet took his father’s advice to travel. On his return, he was faced with another ‘accident’. He found himself knocking on the doors of Lighting Design Partnership (LDP), recently founded by none other than the daring duo – Jonathan Speirs and Andre Tammes. While one hailed from architecture, the other brought the drama of theatre to the table. And Nisbet, fresh out of school, with the world at his feet was standing before them, ready to be plunged into the gruelling waters. Probably the third or fourth employee at LDP, he was exposed to projects that one would seldom get an opportunity to experience at that age, or stage of their career. He was put to task on international works, dealing closely with highly experienced and renowned architects, and some extremely coveted sites. However, the ride lasted only a few years. “I moved to France to play professional rugby for a while,” he says nonchalantly. And as casually as his previous statement, he goes on to tell me that when he returned to Edinburgh, work just as easily fell his way. “People started to ask me to look at this project, or that. And by accident, I again got into lighting and design work. I started with doing bits and pieces, then went on to
doing more work, and eventually ended up establishing LDPi.” Lighting Design Partnership International (LDPi) was founded in 2000 with a former colleague who also worked at LDP – Douglas Hamilton. Accredited by the RIBA, the Scottish practice was offered a vast range of works world over, including many masterplans. They completed the largest urban masterplan project for Putrajaya in 2001. “Our background in design, and understanding of architecture and urban design was very unique. To be able to fully comprehend the environment, psychology of human behaviours, the process of urban design, what people do and how they live, and apply that to the design of light, was unique. We were speaking the same language as architects, and therefore we could explain thoughts better, and integrate ideas better. Knowing the process, and understanding it made it simple for us to work with others.” This is the underlying philosophy that even today runs LDPi. All senior leadership is born from an architecture or design background. As Nisbet says, “Design is the most important aspect. Technology is something that can be built upon, and anyone can crunch numbers. It is design that not everyone can do.” As an architect, it is difficult to refrain from expressing ourselves and limiting our views only to what we are asked. I know I face
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Cityscape LDPi Banner Visual: Courtesy LDPi Team
Bahrain World Trade Center Pics: Paul Roberts
that, so I ask Nisbet if he ever finds himself offering unwanted advice. Back comes the answer, “All the time”! “When people understand that you have more to offer than just lighting, the discussion becomes more interesting. There are more aspects to design than just the world of lighting. In fact, during most design discussions, we don’t even talk about light.” Nisbet credits a healthy design discourse with architects from the world over that sets them apart, and enables LDPi to extend themselves to exciting work. LDPi approaches each project in its individual environment. Although all design conceptualisation emerges from the head office in Edinburgh, they find themselves illuminating spaces and buildings from East Asia, to India, to the Middle East, all the way to the UK and Europe. Different markets of course pose their own challenges, but they most enjoy an international perspective. I probe Nisbet into revealing some of his
personal favourites. After a momentary consideration he says, “The Barr Al Jissah Resort in Muscat has to be one of our most demanding, yet rewarding projects. We were brought into the process at an early stage and spent a lot of time on it. We worked seamlessly with the whole team, developer and client included. It has now been operating for around fourteen years and still looks as good as then.” Nisbet describes the architecture as ‘crafted’, and beautifully so. With total control over the site, the lighting architects had the freedom to explore and experiment. With 80% of the arrivals being international and 80% of them arriving at night, light played a crucial role in establishing a first impression, as well as setting the tone for their experience at the 50 hectare, super luxurious property. LDPi’s lighting strategy not only visually tied the three hotels and landscape together, but also addressed concerns for a delicate turtle breeding sanctuary in close proximity. Given that
turtles are extremely sensitive to light, the team worked with turtle specialists to devise a scheme wherein the breeding process continued unhindered. “Years later, the turtle ecology continues to thrive. This is one of the biggest signs of our success,” says Nisbet happily. Other exciting works include the Bahrain World Trade Centre, a major landmark building, which received many accolades for its dramatic lighting scheme; Oxford University, where the structure was left unlit from the outside, but glowed from within instead; the Kempinski Hotel in Prague, which demanded a particularly sensitive approach to its historic building structure; and many others. We venture east as our conversation takes us to Nisbet’s initial interactions with design in India. He claims it was another ‘accident’! He was introduced to Sonali and Manit Rastogi of Morphogenesis, with whom LDPi completed their first project and went on to do many others in the
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Sparkle Tower, Dubai Visual: Courtesy LDPi Team
Michael Schumacher Tower, Gurugram Visual: Courtesy UHA London
country. “Morphogenesis is all about design. They practice an architecture we like, they follow a design style that we like; it is contemporary with a grain of Indian culture. Some of our influences and references are the same, be it Le Corbusier or Geoffrey Bawa. So it has always been a seamless integration.” Of the first project being a high end residence in the posh neighbourhood of Golf Links in New Delhi, Nisbet says, “The house was an art piece. It was an interesting design exploration which formed the beginning of our understanding of India, and its culture.” As people who are passionate about different cultures and environments, and with years of global experience behind them, LDPi embraced India gracefully. While Nisbet strongly believes that design is universal, the cultural variations stem not so much from the design process, but in how you deliver it. “Managing cultural differences becomes
Supernova, Noida Visual: Courtesy Benoy
natural. If we know how the process will be, we know what will go wrong and how to react. If we know the market, we can do it very quickly. It is not just about lighting, but one needs to understand the products that are available, where they come from, and who will support you locally. If you are open to design, you pick up on these things very quickly,” explains Nisbet. He goes onto describe that while there are no technical differences here as opposed to elsewhere, the biggest challenge of working in India, besides the time, skill and commercials, lies in the process of delivery. This is aggravated with the commercial desires of developers, as can be seen in any emerging market. “Developers are the same world over, reference points are the same, aspirations are not any different, but the process definitely is.” Having worked here for almost a decade, Nisbet is clear to state that, “I don’t think this will change, this is just the way developers work.” However, he also defines
a cycle for development, a cycle that all markets and economies must traverse. For Nisbet, the next step will be refinement, and he is ready to face that as well. “We learn from our experience; be it good or bad, it is a learning process. We will never say it is too hard; hard or not, we will always be there. We put our back into the work, and we understand that the emerging design is fantastic.” He is optimistic about design and lighting in India. I suppose that is why LDPi can be seen as putting their name on a number of projects. They have been working on the Michael Schumacher World Tower in Gurugram with London based architects UHA, for Homestead. Designed to emulate the aerodynamic modeling of a racing car, the highrise is wrapped in a metallic ribbon reminiscent of the curves of a race track. LDPi’s concept mimics the architectural intent in strong graphic lines, bold moves and dynamic lighting. Other projects in India include numerous
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Barr Al Jissah, Oman Pics: Courtesy Shangri-La Group
corporate offices, high end residences, commercial towers and super luxury mega structures scattered over New Delhi, Gurugram, Mumbai and even Kolkata. Each project presents its own demands, and each demand is catered to with utmost care and precision. Nisbet says plainly, “The reality is that you need very little light. However, cultural variations of the colour of light and the quality of light can be addressed only through an understanding of the culture and the client’s requirements. At the end of the day, design is all about people.” Nisbet follows this philosophy unquestioningly, and it takes him full circle, bringing LDPi back to Oman. Having recently won an international competition with COX Architecture from Australia for the Oman Museum: Across Ages, the lighting architects are back in the Middle East facing their biggest design challenge so far. The legacy project is conceived in contemporary architecture but steeped in cultural values of Oman. Driving inspiration from how sunlight reacts to the open areas, mountains and landscape, with varying colour temperatures
juxtaposed against local hues, they are currently discovering expectations, regional nuances, and looking at a story to tell. “If there is a story to tell about the architecture and design, there should be a story to tell about the lighting.” And so LDPi embarks on weaving their own tale. Mapping the journey of a visitor’s arrival to the desolate site, the designers are charting the way to the resort, choreographing the entire sequence through light, and bringing the visitor to an impressive vantage of illuminated mountains. I am curious to know how they intend to light the mountains. “We actually went up the slopes and put light fixtures into the landscape,” Nisbet says with a glint in his voice. I was familiar with LDPi’s work and Nisbet’s passion, but this conversation is opening chapters that leave me intrigued about how a small office (all of fifteen people), of which the principals are mostly traveling from country to country, manages to pull out of their hat one stunning project after another across the globe. More than that, they have in their kitty some of the most compelling works. Who would have thought the biggest boat in the world requires the
magic wand of a lighting architect, or that perhaps the most expensive residence in London is being illuminated by a Scottish firm, or that LDPi is in cohorts with lighting a football club! Nisbet can not be more cursory in his explanation, “People work with us because they like us as people. We are very confidential about how we work, and that is appreciated.” I cannot wait to ask, “When do we see LDPi take a more permanent position in India?” I am met with an impish smile, “Yes, we are expanding. How we will do that, we don’t know! With respect to an Indian office, I will never close that as an option, but the spark will always be in Edinburgh.” He continues, “We are not the biggest in terms of numbers, we do not want to take over the world of lighting design. We want to work with interesting people on interesting projects, and run a commercial business. It is about being able to steer the ship in the right direction at the right time. That too is an art, specially when you are not trying to be the biggest.” www.ldpinternational.com
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Oxford University, UK Pic: Hawkins Brown
Oman Museum: Across Ages, Oman Visual: Courtesy LDPi Team
HIGHLIGHTS Projects that you would like to change: Any project in which the vendors destroy the specifications, destroys the design. IPIC, Abu Dhabi – intervention destroyed it. Projects that you admire: Grand Mosque, Abu Dhabi Projects that you dislike: Thousands…projects that have unnecessary lighting, are over-lit, over-coloured, product-led or manufacturerled. Lighting hero: Geoffrey Bawa for the intensity of his ideas, contextuality and designs that addressed energy conservation. Notable projects: Barr Al Jissah, World Expo 2017, Bahrain World Trade Centre Memorable projects: Mecca Masterplan, Oxford University, Spencer Road Residence, London Current projects: Oman Museum: Across Ages, London Olympic Stadium, JBR (Address Hotel) Awards: PALME Awards 2010 | Best Use of Exterior Lighting: Bahrain World Trade Centre The Middle East Lighting Design Awards (MELDA) 2007 | Middle East Project of the Year: Shangri-La Barr Al Jissah Resort
World Expo 2017, Astana, Kazakhstan Visual: Courtesy AS+GG Architecture
The Middle East Lighting Design Awards (MELDA) 2007 | Winner, Hospitality & Leisure: Shangri-La Barr Al Jissah Resort
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MELLOW MAN From furniture designer to creator of the latest version of the Zumtobel Mellow Light, Daniel Stromborg is now hooked on lighting and we should all be thankful. Paul James caught up with the Gensler man on the London leg of his world tour to promote Zumtobelâ&#x20AC;&#x2122;s first ever global luminaire launch.
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“The design of the Mellow Light became much more about an evolution of form, rather than doing something radically different. The Porsche 911 has gone through more than 50 years of evolution, and it’s a form factor that I would say almost everybody in the developed world is aware of. So I asked the development team to look at what was successful in previous versions and use that form language to dictate what happens in the new Mellow Light.”
Catching up with Daniel Stromborg on the UK leg of his global tour promoting the worldwide launch of the new version of the Mellow Light from Zumtobel, it’s hard not to be impressed by the passion and drive the Gensler designer has for his debut lighting product. The sixth generation of Mellow Light is the first Zumtobel luminaire to be launched directly with an international platform and Stromborg is fully behind the concept. His commitment to the product means he will be taking in China and Australia (as well as the US circuit) in quick succession to talk about the challenge of redesigning such an iconic product as the Mellow Light, the previous incarnation of which was created by the genius of James Irvine. “Designers get involved in product design but then they can drag their feet to the product launches,” Stromborg says. “The process that they took part of is very much part of the story and it’s good to hear that story as part of the marketing strategy.” Stromborg’s career is influenced by a crucial
crossroads in his academic life. Having begun studying pre-med at the University of Montana, Stromborg decided it wasn’t for him. “I wanted to be a doctor at seventeen but it dawned on me that I would be studying until I was 30, which didn’t appeal, so I got a degree in literature and subsequently joined a climbing magazine (a hobby of Stromborg’s) in Aspen, Colorado. After putting together a gear guide for the magazine I realised that I was more interested in designing products than writing about them.” From there he briefly studied Interior Architecture at The School of the Art Institute of Chicago, before moving to Los Angeles to study Environmental Design at The ArtCenter College of Design. After graduation he had stints with digitalimaging pioneer April Greiman and furniture designer Richard Holbrook, then Stromborg worked with designer Don Chadwick (“One of the most ubiquitous, anonymous designers we have today.”) where he was first introduced to Knoll when he worked
as lead designer on Chadwick’s Spark Series. Stromborg left Chadwick’s studio to pursue his own projects with his studio, The Creative Common Good, and launched the Stromborg Table collection with Knoll in 2012. Following an approach from a friend who worked for Gensler, Stromborg joined the firm in 2014 as the Southwest Region’s Director of Product Design after being attracted by the opportunities of working for a large company whilst being given the freedom to work on projects of his choice. “Interestingly working for Gensler after working for myself has been liberating,” explains Stromborg. “I had gleaned a lot of information and experience from people like April and Don, which I used when working on my own to help develop my own style. But being in a much larger structure means the opportunities I have are wildly diverse, I’m not restricted in the scope of design I found myself in while on my own.” He is now acting as a global Practice Area Leader for Gensler, having applied
The Light.
EuroShop 05 to 09 March 2017 Hall 9 / Stand C56
zumtobel.com
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“The key to being an ‘outside designer’ is to forgo the ego.”
his insights and industry experience to inspire design teams to translate Gensler’s voice and vision into tangible products for workplace and lifestyle environments. Partnering with manufacturers, Stromborg and his team help create touch points that expand the experience for which clients rely upon Gensler. Just a year after joining Gensler, Zumtobel invited Stromborg to the Year of Light celebration at their HQ in Dornbirn, Austria. At that point the design of a new version of Mellow Light by Zumtobel’s in-house team was already in progress but they had reached a crossraods as to which direction the design should take. Stromborg was then asked by Wolfgang Egger, Executive Vice President Global Sales North America, if he was interested in developing the Mellow Light further. Of course, the answer was a resounding “Yes!” despite the fact he had no experience in designing light fixtures. “There were two things I wanted to build upon when I came to Gensler,” comments Stromborg. “One was to do more with the firm on a global scale because, although we are hugely known in the US, we are not so well known internationally. The other objective was to work on something I’d never attempted before. I love my furniture work but a chair is a chair at the end of the day and I was attracted by the thought of stepping out of my comfort
zone into something more abstract. I had no idea it would be as complex as it was! The scale and precision that you’re dealing with is completely different to that of, for example, a tilt mechanism of a chair. Light is very much liquid and it is hard to control. And that appeals to me.” Wasn’t he daunted by the task of redesigning such an iconic fixture? “When I got involved, I looked at what Zumtobel had done thus far in order to get a feel for what direction might be the best way to head and we looked at this idea of heritage and progression. The Mellow Light 4 had historically done incredibly well and there was feedback that the end-user, as well as the sales team, loved it for a couple of reasons. Those reasons were compelling from a form standpoint, and because of them, I decided to lean more towards the heritage end of things. It became much more about an evolution of form, rather than doing something radically different. My analogy on this is the Porsche 911. The 911 has gone through more than 50 years of evolution at this point in time, and it’s a form factor that I would say almost everybody in the developed world is aware of. You can put two 911’s next to one another that were developed 50 years apart and you will understand that there is a common form language that’s evolved over time, each still bearing a certain resemblance to one another. So I asked
the development team to look at what was successful in previous versions and use that form language to dictate what happens in the new Mellow Light.” Eighteen months on from getting involved, the sixth generation of this office lighting icon sets new standards when it comes to adapting lighting to suit the specific needs of users, drawing on extensive Zumtobel knowledge about how light affects humans on a visual, biological and emotional level. Immediately recognisable yet slimmer and more elegant, the form supports the state-of-the-art lighting technology that helps this design icon adapt perfectly to the constantly changing requirements of the contemporary office. Both the look and the vision of Mellow Light are unmistakable, with these two aspects combining to deliver high quality light that is as close as possible to natural daylight. To achieve this difficult feat, Mellow Light has been extensively developed and is now available in two versions: Mellow Light evolution and Mellow Light infinity. Both versions are available with the ‘tunableWhite’ technology by Zumtobel, allowing the light intensity and colour temperature to be independently and seamlessly adjusted between 3000 and 6000K. Both versions can therefore be used for the implementation of the ‘Active Light’ concept developed by Zumtobel, which imitates the dynamics of daylight that are
WHAT DO YOU LIGHT ?
ZEDGE ZEDGE is the new Targetti LED step light. The design has been reduced to its core with its minimal proportion and nuanced scale. The relationship between the vertical face and angled illuminated surfaces define a discrete product that creates a strong architectural statement. Available as three frames for three distinct lighting effects, ZEDGE comes in various finishes allowing it to fit into a variety of both indoor and outdoor architectural contexts. ZEDGE, genuine Targetti technology, designed in collaboration with Gensler.
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so important for humans. Mellow Light infinity goes one step further, as the outer wings and the central segment can now be controlled independently of each other. In line with the results of a Zumtobel user study into perceived light quality in the office, which revealed that many people find the standard 500 lux insufficient, Mellow Light infinity enables the individual and flexible adaptation of the light to reflect different needs, preferences and situations. The two light wings create a pleasant basic brightness of 300-400 lux, which gives the room a welcoming atmosphere, while work surfaces can be perfectly illuminated with an additional 400 lux from the central segment. Looking at the sleek lines of the Mellow Light, there is a familiarity with previous versions that Stromborg was keen to develop. “One of the key components of the Mellow Light 4 was the idea of a third dimension that we wanted to keep. It had a narrow light engine compared to Mellow Light 5 designed by James Irvine, and the significant middle grill that was very popular. Even though people loved the grid, there were issues with it in terms of light performance, but we wanted to reference back to the grid with a very
high performance looking crystal optic. Unfortunately we couldn’t go with that much of a small grid because of its effect on the performance, but you can see the tie in. Irvine had done an incredible job with what I refer to as layered patterning in the Mellow Light 5 because it breaks up a rather mundane big object. Another key takeaway from Irvine’s work was what I call the ‘Irvine Step’ (the small step between the wing and the actual light source). This is something that I really wanted to keep, as a kind of homage to Irvine and his development team. But with regards to the wings, we went more into the organic so that we were still satisfying the request of people that were asking for a more organic cross section. So this goes back to Mellow Light 4 and how there was more of that soft feel in terms of the reflector that was casting the characteristic mellow light onto the wings. We did address the progressive end by integrating the optics Zumtobel had applied in their original concept with very beautiful water clear, crystal lenses.” Combining Mellow Light infinity with the Litecom lighting management system and the innovative ATIVO contrast sensor means that the light atmosphere can be automatically adjusted to reflect not only the amount of available daylight, but also
the number of people present and their location in the room. ATIVO recognises the way a space is being used and automatically selects the appropriate lighting mood, paving the way for Activity Based Lighting. The Mellow Light portfolio encompasses a comprehensive range of rectangular and square luminaires in a wide variety of designs for ceiling-recessed or surfacemounted installation. As a surface-mounted fitting, a series of optional colours helps the luminaire adapt to the individual needs of the interior architecture. While the white luminaire can be discreetly integrated into drywall ceilings, the silver version creates a flexible transition between the product and the exposed concrete. If highlights are required, additional versions in brown, black and naturally anodised aluminium can be specified. So what was the biggest challenge in working with technical lighting for an ‘outsider designer’? “The Zumtobel team were incredibly open to new ideas. The biggest challenge for me was the technical detail - literally working out how light works. Design and lighting is about emotion but high performance task lighting is also about science. High performance lighting has to be engineering driven. There were unavoidable technical
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The Mellow Light portfolio encompasses a comprehensive range of rectangular and square luminaires in a wide variety of designs for ceilingrecessed or surface-mounted installation. As a surface-mounted fitting, a series of optional colours helps the luminaire adapt to the individual needs of the interior architecture. While the white luminaire can be discreetly integrated into drywall ceilings, the silver version creates a flexible transition between the product and the exposed concrete. If highlights are required, additional versions in brown, black and naturally anodised aluminium can be specified.
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ZEDGE, the new Targetti LED step light designed by Daniel Stromborg is available in three finishes, making it perfect for projects needing minimal presence and a nuanced scale. The relationship between the vertical face and angled illuminated surfaces define a discrete product that creates a strong architectural statement in both indoor and outdoor applications.
issues that I wish we could have overcome but there were other solutions that the engineers developed such as improved light distribution from the recessed version. Designing decorative lighting is based on opinion, there’s no right or wrong. This isn’t the case with technical lighting, it’s based on performance and that’s where the design is most satisfying - how we designed the crystal optics, for example. Every designer has an ego but you have to tone it down for technical lighting. The key to being
an ‘outside designer’ is to forgo the ego. I love the look of the Mellow Light but you can’t have a ceiling full of ‘It’ objects. They would be fighting with other and it would look horrible.” So will there be more lighting products to come from Stromborg? “Yes, I’m now designing more product for Zumtobel and I’ve just completed a product called REVO, a Direct/Indirect pendant for a Canadian manufacturer called Lumenwerx as well as ZEDGE, an LED step
light for Targetti, which will be launched at Euroluce. I’ve definitely caught the lighting bug!” Well hurrah for that! A continuing passion for, and bringing fesh ideas to, technical illumination from the furniture designer can only be a good thing for the lighting design profession. www.gensler.com
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DARC ROOM
CREATIVE, CURATED LIGHTING EVENT An exciting new lighting specification exhibition has been launched in the UK as part of the London Design Festival. darc room is brought to you by the publishers of mondo*arc and creative consultants Light Collective and promises to change the UK lighting exhibition landscape. According to mondo*arc’s 2017 International Lighting Design Survey there are now over 100 lighting design practices in London alone. These account for half the UK’s total of lighting design practices. And that’s not to mention the thousands of interior designers and architects that are based in the UK’s capital and beyond. The vast majority of these designers not only specify in the UK but have a significant portfolio overseas. This makes London the capital of international specification but designers are notoriously busy with little interest in going out of central London to visit a lighting exhibition. To appeal to all types of designers in London and further afield darc room will take place at B1, a unique 22,000 sqm space in Victoria House in Holborn, central London, from September 21st - 23rd 2017 during London Design Festival. This will follow darc awards / architectural which takes
place at MC Motors in Dalston, north London on September 14th. The light installations specially created for darc night, the awards event, will be transported to darc room to create a a wow factor previously unheard of at UK lighting exhibitions. Being part of the London Design Festival has an obvious advantage to a standalone show in that the city is already buzzing with designers who are looking for inspiration and who set aside time to leave their studios knowing there is so much to see. darc room will operate on five guiding principles that gets the best out of a lighting exhibition… EXPOSURE Product will be exhibited in pods in a pared down way that allows visitors to understand the manufacturers’ offer and how each specific tool for lighting design works. DEVELOPMENT Education will be a big part of darc room,
both in the way products are displayed and in the conference program. PROCESS Light installations from darc night, the darc awards event, show the actual use of architectural product. FOCUS To complete the gallery experience there will be a Gift Shop space where manufacturers’ literature is located for collection by visitors after walking through the exhibition. STOP BATH A cafe and bar space spectacularly lit and decorated by a picture gallery of all the winners from the 2017 darc awards / architectural and darc awards / decorative. Those interested in participating should contact Paul James, publishing editor, on p.james@mondiale.co.uk www.darcroom.com
A CREATIVE LIGHTING EXHIBITION AT LONDON DESIGN FESTIVAL
WWW.DARCROOM.COM
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DARC AND DECORATIVE Last year the innovative peer-to-peer voting concept of the darc awards took the lighting design industry by storm. The unique format combined architectural and decorative lighting entries that were voted on by the international lighting design community to discover what were the best projects and products of 2015/16. The darc awards is a novel concept utilising darc and sister title mondo*arc magazinesâ&#x20AC;&#x2122; reputation as being the most widely read and respected lighting design publications in the world. With our database of over 6,000 international lighting design practices, interior designers and architects and, in collaboration with creative consultants Light Collective, we have created a unique opportunity to get every practice involved
in the awards process. This year the darc awards has been split into two distinct elements - darc awards / architectural for the architectural lighting industry and darc awards / decorative targeting, you guessed it, the decorative lighting industry. darc awards / architectural, launched earlier in the year, has been yet another incredible success with the awards event, darc night, taking place at MC Motors in London on September 15th. There were over 400 entries and 6,000 votes for this yearâ&#x20AC;&#x2122;s architectural awards, which resulted in over 500 designers attending the darc night event. darc awards / decorative was launched at this yearâ&#x20AC;&#x2122;s London Design Festival with its own decorative darc night taking place
in May 2017 in London. The awards will showcase the best in decorative lighting, with projects and products being voted on by lighting designers, interior designers and architects. This will result in the winners receiving the highest accolade of being voted on by their peers and all the kudos that that brings. The categories for the awards will reflect the diverse range of decorative projects and products we cover in darc magazine ranging from residential, workplace, hotel, retail and bar/restaurant schemes to a complete range of product categories from pendants and chandeliers right down to the lamps that power them (see the table right for full category listing). As with darc awards / architectural, the sponsorship package for the decorative
FEATURE
Following the successful inauguration of the darc awards last year, the concept has been split into architectural and decorative elements with the decorative awards now open for entries and displaying them online.
awards allows manufacturers to get more actively involved in the awards event by displaying their products during darc night. All of the pictures above show the installations by lighting designers using the manufacturer partnersâ&#x20AC;&#x2122; products. It is an excellent opportunity for sponsors to get their products in front of specifiers instead of just having a logo and a free table at a traditional awards. In fact, there are no tables at the darc awards. The atmosphere is very informal and relaxed with a free bar and street food all night so that attendees can explore the venue and the installations inside. But the best bit about darc night is that all independent lighting designers, architects and interior designers that vote are eligible for a free ticket to the awards ceremony
(non-sponsor manufacturers must pay a fee) so that junior designers and smaller practices have as much a chance of attending as the usual larger practices. The website (www.darcawards.com) features both the architectural and decorative components with the decorative awards now open for entries and displaying submitted projects and products. The architectural awards will be open for entries in 2017. Any decorative lighting manufacturer that is interested in becoming a sponsor for the darc awards / decorative should contact the awards director and darc / mondo*arc editor-in-chief Paul James (p.james@mondiale.co.uk). www.darcawards.com
DARC AWARDS / DECORATIVE THE CATEGORIES PROJECTS LIVE - the best residential project WORK - the best workplace project REST - the best hotel project PLAY - the best leisure project SHOP - the best retail project
PRODUCTS BESPOKE - the best bespoke fixture CEILING - the best pendant / chandelier WALL - the best wall fixture FLOOR - the best floor standing fixture TABLE - the best table standing fixture EXTERIOR - the best exterior fixture SOURCE - the best lamp
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MORE THAN A MUSEUM Showcasing the power of interdisciplinary collaboration, London’s new Design Museum is both an example of, and a place for, exceptional contemporary design, of which ChapmanBDSP and Studio ZNA’s lighting schemes play an important role in creating a space to inspire future generations.
Pic: Gravity Road
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Nestled in the trees of Holland Park, daylight floods into the museum’s interior as the building’s original façade has been replaced with a double glazed skin. This new exterior is detailed to resemble the original blue skin of the building, with matching mullions and a fritted pattern of printed dots.
On 24 November 2016, the Design Museum opened in its new home on Kensington High Street, west London. Housed in a landmark grade II* listed modernist building from the 1960s that has been sensitively retuned by John Pawson, the project is the culmination of a five-year construction process. The museum has now tripled to 10,000sqm from its previous premises in Shad Thames, south-east London. Following an investment of £83m, the structure has been transformed for its future role as the world’s leading institution dedicated to contemporary design and architecture. Remodeling the interior, John Pawson has created a series of calm, atmospheric spaces ordered around an oak-lined atrium, incorporating key elements from the original structure. The project has seen some of the world’s leading designers, manufacturers and patrons come together to create a new global hub for contemporary design. With architectural and structural expertise from OMA, Allies and Morrison and Arup, a permanent collection display designed by Studio Myerscough, a restaurant and members’ room by Universal Design Studio, a Centre for Learning made possible by
the Swarovski Foundation, flooring by Dinesen, furniture by Vitra, shelving by Vitsoe, lighting by Concord, a visual identity by Studio Fernando Gutierrez and way-finding by Cartlidge Levene, the new Design Museum is an outstanding example of interdisciplinary collaboration. Founded by Sir Terence Conran, the Design Museum opened in 1989 in a former banana ripening warehouse on Shad Thames, following its successful original incarnation opening in 1983 as the Boilerhouse Project, in the basement of the V&A. Remaining at Shad Thames until 30 June 2016, the Design Museum mounted a host of critically acclaimed exhibitions, including shows dedicated to the work of Lord Richard Rogers, Thomas Heatherwick, Dame Zaha Hadid, Dieter Rams, Ettore Sottsass, Sir Paul Smith, Christian Louboutin and Sir Kenneth Grange. The new museum sits on Kensington High Street next to the southern entrance to Holland Park and forms the heart of the new Holland Green residential development. In 2010 a partnership formed by Chelsfield and the Ilchester Estate to redevelop the site was granted planning permission by the Royal Borough of Kensington and Chelsea
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Lumiance Lumistrip flexible linear LED strips have been integrated into handrails and banisters, adding theatre to the atrium of the museum and inviting visitors to follow light towards the top floor and the soaring underside of the parabolic roof. A wooden bench spanning one side of the Weston Mezzanine, a focal feature of Pawson’s design, uses concealed linear LED lighting to encourage visitors to sit and take in the striking surroundings. Around the perimeter of the first floor, Concord Beacon Muse track mounted spotlights have been combined with Concord Mini Continuum linear LED light lines to provide a combination of ambient lighting and task illumination.
Pic: Gareth Gardner
for the construction of three residential buildings and the refurbishment of the Grade II* listed building at the centre of the site. The complex renovation of the museum saw OMA led by Reinier de Graaf, Allies and Morrison, Arup and John Pawson work together to bring this landmark of postwar British architecture back into use. Using radical engineering techniques, the original concrete floors were removed – a process that entailed propping the roof on a temporary steel structure 20-metres above the ground. The original façade has been replaced with a double glazed skin, significantly improving insulation standards and allowing daylight into the interior. The new exterior has been meticulously detailed to resemble the original blue skin of the building, with matching mullions and a fritted pattern of printed dots. A new public plaza complete with fountains has been installed at the entrance to the museum, within a landscape designed by West 8.
Inside the museum, visitors find themselves in a central atrium with striking views up to the iconic hyperbolic paraboloid roof. The stunning concrete roof spans the length of the building, rising on the two opposing corners to create a manta ray-like structure above. Galleries, learning spaces, a café, an events space and a shop are arranged like an opencast mine around the main atrium, allowing visitors to navigate with ease. The building has two temporary galleries, one on the ground floor, the other on the museum’s lower level. Both featuring double-height spaces and textured concrete columns, these galleries will display up to seven temporary exhibitions per year. The 200-seat Bakala Auditorium completes the basement and allows the museum to expand its public programme and evening talks. The ground floor houses the Design Museum’s coffee and juice counter, seating up to 40 people. Located opposite is the Design Museum Shop, featuring Vitsoe
shelving units and the building’s original stained glass windows by Keith New. The oak staircases form the circulatory heart of Pawson's design. Strip LEDs line the handrails and banisters, adding theatre to the experience of moving round the building, as visitors follow the light towards the top floor and the soaring underside of the roof. A key element of the Pawson vocabulary, a wooden bench with concealed lighting spans one side of the Weston Mezzanine. Pawson commented: ‘‘There are moments in the building that I relish every time I walk around, but I think it is really the way everything comes together – the new and the old – that gives me the greatest pleasure. I hope the Design Museum shows people that you don’t have to tear down and start from scratch to make exciting new cultural spaces.’’ The main attraction on the museum's top floor is the new permanent collection display, Designer Maker User. For the
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Pic: Gareth Gardner
Pic: Courtesy of Studio ZNA
first time in the museum's history, this exhibition will be free to visit. It will display almost 1,000 objects, viewed from the perspectives of designer, manufacturer and user, as well as a crowd-sourced wall. Generously supported by the Heritage Lottery Fund (HLF), a grant of ÂŁ4.9m has made a substantial contribution towards the construction of the new building and the realisation of this permanent display. Standout pieces include a 1:1 scale model of the new London tube train, the British road signage system, an AK47 and an interactive digital fashion display. Studio ZNA were appointed as lighting designers to work with studio Myerscough to design the Designer Maker User display. The main challenges of the space was the galleryâ&#x20AC;&#x2122;s location on the second floor, sitting underneath the iconic, sloping roof
Pic: Gareth Gardner
Pic: Courtesy of Studio ZNA
structure. Studio ZNA therefore had no ceilings apart from two small zones which allowed for small-suspended ceilings. For the rest of the gallery the team needed to create a self-supporting structure that could span the 3D build to house its luminaires. So they collaborated with the designers to produce a lightweight bespoke truss system that acted as both structural support for the freestanding display walls and as a light carrier. The frame is used to carry the cabling and recessed bespoke monopoint fittings by Precision Lighting to house its LED Evo spotlights. This accent lighting was supplemented with linear LED by Vexica to provide a soft ambient light to the space. In other areas the studio designed a series of canopies that extended the walls to house small wallwasher Laser Blades by iGuzzini. For lit shelving and showcases lighting LED
Light Sheet by Applelec was proposed to achieve a slim profile. Linear lights are concealed in joinery to highlight objects and express form and texture. Conservation requirements on paper and textiles were adhered to whilst the use of ambient light in the circulation zones countered the effects of lower light levels. A lensed linear luminaire by L&L Luce & Light, was used on the moving info graphic title wall, which invites the public into the exhibition as you enter the museum at ground level. It injects the huge minimalist atrium with an energy and a hint at the creative innovation and invention on display. The top floor of the building also offers views down to the ground floor and a chance for visitors to come within touching distance of the roof. Parabola, a new
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Top Left An alternative angle shows the Lumiance Lumistrip LED strips adding excitement to the museum’s handrails. Above The great parabolic roof towers over the musuem’s second floor in a manta-ray-like fashion. Far Left and Right Within the Designer Maker User exhibition, Studio ZNA’s bespoke truss system houses Precision Lighting’s LED Evo X11 spotlights, accompanied by Vexica VEX-MINILINE-SQR linear luminaires to provide ambient light to the space. Left Discreet Pico and Discus fixtures by Precision provide an adjustable and focused illumination for the exhibit’s individual items.
restaurant named after the museum’s signature roof, sits on the top floor of the museum and offers unprecedented views of Holland Park. Designed by Universal Design Studio, the space features customised archive furniture by Vitra and Artek, a sculptural polished pewter bar by Benchmark and lighting by Flos. For the rest of the lighting, beginning in 2014, Concord worked with the Design Museum to supply the new scheme ready for the opening in November 2016. Designed by lighting consultants ChapmanBDSP and installed with LJJ Mechanical & Electrical Contractors, Concord has provided over 2,500 luminaires to light the 10,000sqm space. The lighting has been designed to blend into the architectural features of the structure, whilst still providing a flexible
Pic: Courtesy of Studio ZNA
and easy to manage system. Graham Large, Head of Architectural Lighting Design at ChapmanBDSP, explained: “When we first developed a specification for this project, it incorporated a variety of lighting manufacturers. The Design Museum then asked us to look at working with one supplier and, after a competitive bid process Concord was the partner chosen. We worked with Concord to refine the specification and ensure all the lighting met our initial ideas and goals. We were impressed with the results and found it extremely useful to be dealing with one person on every aspect of the lighting, including all the controls.” The main exhibition and event spaces on the upper basement, mezzanine and first floor use over 800 Concord Beacon Muse 3,000k White track mounted spotlights to
provide flexibility in beam angle control and light levels. Over 200m of Lumiance Lumistrip has also been installed in the exhibition space to provide indirect light above the exhibition panels whilst the entrances have Mini Continuum light lines with integrated spotlights. Concord worked with Lutron to provide a DALI control system for the project. The system allows for individual dimming and control of all the luminaires throughout the scheme to ensure the required effect is achieved in each space and it will cater for flexible use during both daylight and night time hours. In total, there are 1,200 Beacon Muse spotlights installed in the building, mounted onto around 1,000 metres of Lytespan 3 track. In the two temporary galleries as well as the educational areas and studios,
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A close up of the moving info graphic title wall, which invites the public into the Designer Maker User exhibition as you enter at ground level, shows L&L Luce & Light’s Neva 2.0 lensed linear luminaire integrated into the sign, adding a splash of colour to the minimalist atrium.
Pic: Courtesy of Studio ZNA
Concord Beacon Muse luminaires have been installed in combination with Concord Mini Continuum LED to provide a combination of ambient lighting with focused task illumination from the spotlights. Mini Continuum light lines have been used in combination with track mounted versions for the studio areas, pendants for larger areas and Mini Continuum Direct / Indirect through the office spaces, lighting the desks whilst enhancing the working space with indirect light on the ceilings. Large continued: “The team at the museum was very hands on during the process and knew exactly what they wanted. For instance, the spotlights within the galleries have on-board dimmers so the staff can
focus and set light levels themselves, a key requirement for the project.” The 200 seat Bakala auditorium has a fully controlled lighting system that features both Mini Continuum and black Beacon Muse luminaires to blend into the interior decor. Across the whole building, the luminaires have been designed to blend into the décor with black trim Concord Ascent 150 downlights, Mini Continuum and Beacon luminaires discreetly lighting the retail spaces by matching the ceiling design, whilst Beacon Muse spotligths on drop rod extensions, have been employed to subtly illuminate the space through a woodened beam ceiling design structure. The lighting scheme is finished off with
specialist luminaires for areas such as the Member’s lounge and Parabola Café & Restaurant, where the 90 Concord Myriad V downlights have been fitted. These luminaires have a colour tuning engine to take the room from 2,700k as an intimate dining space to 4,500k for functional and service use at other times. For the central parabola ceiling, Concord supplied high output surface mounted ArcSource 96 Smart White projectors and floor recessed custom inground ArcPad 48 LED projectors by Anolis, to provide accent light to this feature. The lighting scheme extends to the back of house with Concord providing IP65 recessed fittings for kitchens, Ascent downlights for
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Throughout the building, luminaires have been designed to blend into the décor, such as black trim Concord Ascent 150 downlights, Mini Continuum and Beacon luminaires discreetly lighting the retail spaces by matching the ceiling design, whilst Beacon Muse spotligths on drop rod extensions, illuminate the space through a woodened beam ceiling structure.
the bathrooms, LED surface mounted panels in the basement and IP65 Sylvania Sylproof LED linear fittings for the plant rooms and loading bays. Expected to attract 650,000 visitors in its first year, the Design Museum combines architecture, product design, technology, graphics and fashion to investigate the form, function and meaning of the world around us. Sir Terence Conran, founder of the Design Museum concluded: ‘‘It really does feel like our moment has arrived and that the importance of design to our lives is now truly appreciated. With three times the space and John Pawson's beautiful architectural work I hope we can now educate, inspire and delight future generations for years to come and truly make a difference to the world around us.’’ www.chapmanbdsp.com www.studiozna.com
PROJECT DETAILS Design Museum, London, UK Client: Chelsfield and the Ilchester Estate Architects: OMA, Allies and Morrison, Arup Lighting Design: ChapmanBDSP, Studio ZNA
LIGHTING SPECIFIED
Pic: Luke Hayes
Anolis ArcSource 96 Smart White LED projectors Anolis ArcPad 48 inground LED projectors Applelec LED Light Sheet Atmospheric Zone ATMOS linear LED profiles Aurora rotary 1-10V single dimmers Concord Beacon Muse spotlights Concord Ascent 150 downlights Concord Mini Continuum linear light lines Concord Lytespan 3 track Concord Myriad V tunable 2,700k to 4,500k pendants ETC Source Four Mini 36° luminaires Harvard CoolLED drivers Harvard Emergency LED modules iGuzzini Laser Blade recessed wall washers iGuzzini Underscore InOut linear LED system L&L Luce & Light Neva 2.0 linear profiles Lumiance Lumistrip flexible linear LED strips Lutron DALI control system Osram 80W drivers Precision Discus 11 long nose monopoint stick lights Precision Evo X 11 Glare Guard custom truss fittings Precision Evo X 11 Glare Guard monopoint fittings Precision Minimo LED downlights with trim Precision Pico 1 surface mounted LED spotlights SloanLED V180 LED modules Sylvania Sylproof Weather/Vandal resistant LED luminaires Vexica VEX-MINILINE-SQR linear luminaires Vexica VEX drivers Zumtobel ONLITE RESCLITE LED emergency luminaires
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Pics: Gavriil Papadiotis
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Left Slotting between the interior‘s precast concrete panels, Selux‘s linear fluorescent luminaire, a bespoke product for the Tate, sits in Selux EUTRAC with data bus lighting track to illuminate all public spaces and galleries from Level 1 - Level 10. These both complement the space and are orientated to draw visitors through the volume towards the galleries and other public areas. Below DAL‘s adjustable Baltic spotlights provide a focused illumination, highlighting exhibits, whilst uniform backlit ceilings give a calmer feel to the Level 4 gallery space. The light in these spaces has been carefully chosen to enhance the artwork, whilst meeting conservation and display standards. Using a grid of ‘eggcrate’ louvers on the roof, half of the Level 4 gallery space allows controlled levels of daylight through a system of skylights above the diffuse ceiling. This has been designed to block the sun at all times whilst optimising the incoming daylight, which is diffused by the skylight glazing and the gallery‘s stretched fabric ceiling, creating a comfortable art viewing environment.
VERTICAL VOLUME Following on from its previous design for the original musuem in 2000, Arup’s considered lighting scheme ensures that, while the Switch House’s multitude of spaces express a variety of forms and functions, the old and new parts of the Tate Modern are still perceived as one collective organism.
Tate Modern has changed London since it opened. The impact it has had on urban design and the development of the South Bank and Southwark, has been as substantial as its influence on the city’s artistic, cultural and social life. It was not long after the opening of the Tate Modern in 2000, for which Arup designed the lighting, that thoughts turned to expansion of the museum. Unoccupied parts of the iconic Bankside Power Station were considered as new spaces so Tate made plans to augment the building further. Retaining the original Tate Modern architects, Herzog & de Meuron, for the extension, Tate felt that Arup’s experience working with the architect, lighting the original building, would be of benefit to the new project and thus appointed them to develop all lighting design for the extension – daylight, interior and exterior lighting. The new Switch House extension provides 60% more space and includes a wide variety of learning, outreach and social spaces for visitors, as well as new office space for Tate staff. The project comprised various parts: integration with the original Tate Modern via the Turbine Hall space; building the new gallery spaces within the existing ‘Switch House’, to the south of the Turbine Hall; converting the underground former oil tanks into exhibition spaces; and the new ten-storey tower above these, housing the
learning, social and office space. The client wanted to ensure that, while these different elements of the building are expressed, the old and new parts are still perceived as one Tate Modern. Therefore, a key challenge for the internal lighting design was to develop a scheme that integrated with and accentuated the architecture of the new spaces, whilst maintaining a consistency with the existing building. The other challenge that Arup was set was to ensure that the building used 20% less energy than a typical museum, and would attain industry recognition for sustainability in the form of a BREEAM ‘Very Good’ rating. The lighting clearly plays a key role in achieving this goal. For the new extension, Herzog & de Meuron developed a ten-storey tower with a pyramidal form generated from the combined geometries of the site context and the existing building. While the original Tate Modern is largely horizontal in orientation, the tower creates a vertical orientation, with a generous public circulation route that rises through the building. Reacting to this context and to the client requirements, the lighting scheme for the public concourse and circulation areas comprises mainly bare fluorescent lamps slotting between precast concrete panels. These both complement the form of the
space and are orientated to help draw people through the vertical building towards the galleries and other public areas. Linear fluorescent lighting is an energy efficient light source that fits the architecture and references similar lighting in the original building to continue the consistency. This lighting is closely integrated with the structure and other services, minimising visual clutter and creating a scheme that is a considered part of the fabric rather than an afterthought. The lighting is mounted onto cable trunking installed between precast concrete ceiling panels, in a slot shared with sensors, smoke detectors, loudspeakers, sprinklers and CCTV. This integrated approach is used in all public spaces of the new building, which is largely characterised by exposed concrete structure. The concourse lighting scheme is adapted in each of the adjacent functional spaces in the tower, which all have similar exposed precast concrete ceilings. Arup’s approach takes into account the lighting requirements for the wide variety of social and educational areas for patrons, whilst providing a consistent feel. The learning spaces on Levels 5 and 6 are bathed with generous ambient light, using a similar system of linear fluorescent lighting, for maximum flexibility of use for these areas. The office spaces on the south side of Levels 3, 4, 5 and 6 use a tubular
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Left Selux’s bespoke linear fluorescent product illuminates routes for visitors to follow up and down a staircase. Below Deep beneath ground level, Level 0’s South Oil Tank utilises additional lighting from ETC’s Source Four fixtures, as an accompaniment to Zumtobel’s Tecton linear fluorescent luminaires, highlighting the rawness of the architecture.
luminaire, selected to look similar to the bare fluorescent tubes whilst providing glare control for the working environment. LED cast-glass pendants, suspended from the same trunking between the pre-cast concrete panels, add character and sparkle to the dining areas – the Level 8 Members’ Room and Level 9 Restaurant – without distracting from their spectacular views over London. Glass pendants are also utilised in the Bar on Level 1, hinting at the dining spaces above with the same lighting and mirroring the Café at ground level in the existing Tate Modern, which also gains its character from distinctive pendant lighting. The Switch House includes a variety of new and diverse gallery spaces. The galleries on Level 3 are more intimate spaces than the others, with a lower ceiling height. The lighting of these galleries is also more intimate, using track and spotlights only to focus light on the walls and artworks. The lighting track is located between the beams in the ribbed ceilings. Spotlights mount into this track on an elongated stem designed to avoid ‘hot spots’ on the sides of the beams, whilst minimising visual clutter by having the spotlights partially concealed by the beams. The larger galleries on Levels 2 and 4 are both provided with homogenous ambient light, as well as track and spotlights for flexibility. High colour rendering linear fluorescent lighting is mounted on suspended lighting track on Level 2. This track follows the rhythm of the structural grid of the building, and forms a visual datum beneath the exposed ductwork and other services above. Uniform backlit ceilings give a calmer feel to the large gallery spaces on Level 4. These connect the new galleries stylistically to
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To get the interior lighting to meet the required levels is just the first step, as the visual comfort and flexibility is equally important. After a careful planning and numerous simulations, ILM Lighting and Federico Ognibene in collaboration with LEDiLwww.ledil.com provided a profound lighting solution especially designed for the application. The new elegant chandeliers were packed with MIRELLA reflectors and WINNIE-O lenses were used in the first luminaire in the world to provide elliptical beam from a COB LED.
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Above With a lower ceiling height, the galleries on Level 3 are intimate spaces. This is reflected in the lighting, with track and spotlights used only to focus light on the walls and artworks. Selux EUTRAC lighting track is located between the beams in the ribbed ceilings, with spotlights mounted on an elongated stem designed to avoid ‘hot spots’ on the sides of the beams, whilst minimising visual clutter by having the spotlights partially concealed by the beams. Left A spiral staircase showcases the orientational impact of Selux’s bespoke linear fluorescent luminaire, leading visitors up the pyramidal structure in pursuit of architectural space discovery.
existing ones, accessible via a nearby bridge over the Turbine Hall. The amount and colour of light in these spaces is selected to enhance each exhibition, whilst meeting strict conservation and display standards. Half of the Level 4 gallery space also allows generous but controlled levels of daylight through a system of skylights above the diffuse ceiling. Direct sunlight is blocked by a grid of ‘egg-crate’ louvers on the roof, above the skylight glazing, designed to block the sun at all times whilst optimising the amount of daylight that can pass through the sky vault. The incoming daylight is diffused by both the skylight glazing and the stretched fabric ceiling to the gallery space, to create a comfortable art viewing environment. Daylight levels in the gallery have been optimised through this skylight design, to ensure that the levels are within an acceptable range for
gallery conservation standards for most types of exhibition. The other new gallery and public spaces are the converted Oil Tanks and adjacent spaces on Level 0, under the new tower. These spaces, initially temporarily opened in 2012, are architecturally treated as raw, ‘as-found’ spaces – there was minimal intervention to bring the internal environment to an appropriate standard, leaving the form and finishes as they were as much as possible. The Level 0 lobby space is a juxtaposition between the existing concrete structure and the new foundations for the tower, which cuts through. The space is unified by a grid of simple, suspended trunking, carrying track and bare linear fluorescent lamps, creating a consistent datum with simpler lighting and an industrial feel. The adjacent Transformer Galleries, space that used to
house a transformer, have a similar raw form, and simple suspended lighting track allows appropriate display lighting with a minimal intervention, barely visible above the artworks, which are the real focus of these spaces. The two Oil Tanks – the east tank devoted to media art, and south tank for performance art and events – each have similarly minimal interventions for lighting. Small lengths of surface-mounted lighting track are strategically dotted around the soffit of the east Tank, in a layout coordinated with the other required ceiling services. The south tank is illuminated by lights hung from a suspended theatrical scaffold-bar grid. The LED spotlights used in all gallery spaces emit light barely distinguishable in quality and appearance from traditional halogen lighting. 42W Xicato Artist Series LED spotlights, manufactured by DAL, were
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Previous Page Without distracting from visitors’ eye-opening London vista, Zumtobel’s bespoke LED cast-glass pendants, suspended from the same trunking between the pre-cast concrete panels, add some decorative character and an aesthetic pleasure to the dining areas. This Page Selux‘s high colour-rendering linear fluorescent lighting is mounted on suspended lighting track in a gallery on Level 2. The track follows the rhythm of the structural grid of the building, forming a visual contrast with the exposed ductwork above.
used, more than halving the gallery’s typical energy demand from halogen spotlights. The final specification of the spotlights was left late in the construction programme – to ensure that the most up-to-date technology could be used. This careful specification of LED spotlights is a significant contributor to minimising the energy use overall. The lighting control system also plays a significant role in minimising energy use. Daylight filters through the perforated brick façade and clear façade glazing throughout the new building, and the distribution of daylight was carefully analysed, assisting in developing the electric lighting scheme. Daylight- and/or occupancy-linked lighting control is extensively employed, ensuring that only as much light as required is used where and when it is needed. Arup also designed the external lighting for the landscape to the south and west of the building. From the beginning, the strategy for this was ‘less is more’ to keep energy use low, and to provide only as much lighting as required on the routes where it is needed. The approach is kept deliberately simple and uncluttered, using mainly multihead lighting columns (mostly six-metres
in height) with projectors positioned and aimed to direct light precisely, creating a comfortable environment that minimises light pollution and considers ecological requirements. The use of shorter columns in an irregular layout is a nod to the taller, regimented columns on the riverfacing north side of the building, but also simultaneously creates a lower level scheme with a more ‘local’ feel. For the night-time view of the façade of the new tower, Arup carried out a number of design studies, testing various options. This led to a strategic decision being made to not add more feature illumination to the building façade. Consistent with the existing Tate Modern, the only lighting accentuating the building form is the expression of the carefully designed internal lighting, glowing through the façades. This approach links the function and activity of the interior with the appearance on the skyline of the exterior, and helps to integrate the old and new parts of the building. This also makes a visual statement on sustainability; no superfluous lighting was needed on this new landmark building. In addition to areas discussed, UXUS was
tasked with developing the design for the Tate’s new shop. Launched in June last year, the store is housed at the base of the gallery’s distinctive pyramid extension. The store is conceived by UXUS as occupying the crossroads of culture and commerce by inviting visitors to explore the world of art through the museum’s retail expression. Part shopping destination, part cultural hangout, it is designed as a ‘permanently temporary’ space with the flexibility to respond to the gallery’s fast-changing exhibition and project schedule. A bespoke system of stackable furniture modules allows for regular reconfiguration to keep the displays fresh and exciting for visitors, as well as accommodating seating for browsing and events such as book readings and talks. Following with the permanently temporary theme, the lighting is provided through a flexible track system, allowing for the store to be reorganised as often as necessary. ‘‘We have integrated LED lighting in the jewellery case area, mid floor shelving units, and within the postcard wall to highlight products,” explained Oliver Michell, Chief Creative Officer, Architect
Tokyo International Exhibition Center “Tokyo Big Sight” West 1.2 Halls Booth no. LF1045 7.–10.3.2017
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Positioned on a track system, FLOS UT track spot luminaires, with 29.3W Xicato XTM 3,000k modules and a DALI dimming driver, utilise 16º, 22º, and 32º optics in the Tate’s shop, allowing for the store to be reorganised as often as necessary.
Pic: Ed Reeve
and Co-founder of UXUS. Additionally, Herzog & de Meuron designed bespoke pendant lights that punctuate the jewellery and reading areas. These lamps are also featured in the adjacent ground floor café, creating a visual link between the two spaces. At high level, there is a series of light boxes running along the perimeter of the shop to display graphics. The graphics are intended to change regularly, and will affect the overall look of the store from season to season. Shop windows also have dedicated lighting, both at floor level and overhead in tracks embedded into façade beams, to showcase visual merchandising. FLOS UT track spot luminaires were used, with 29.3w Xicato XTM 3,000k modules and a DALI dimming driver, utilising 16º, 22º, and 32º optics. This fitting has been developed with a deep set LED to help minimise the glare and discomfort whilst
allowing for complete control of the light within its environment. The selection of the optics were based on creating layers of light to the point of sale whilst trying to avoid direct light onto the circulation space to help define product in application. The store was commissioned to help direct the light in the right orientation and to prevent as much glare as possible from being visible to the customer. One thing that is apparent for both the Tate Modern and its Switch House extension is consistency. From Herzog & de Meuron’s skill in combining elements of old and new to Arup’s strategic and considerate scheme, which fit seamlessly into the London landmark’s many spaces. Using lighting as vehicle for such design, the Switch House is an extension that combines with the original to form a single organism. www.arup.com www.uxus.com
PROJECT DETAILS Switch House, Tate Modern, London, UK Client: Tate Modern Architects: Herzog and de Meuron Lighting Design: Arup, (Gift Shop: UXUS)
LIGHTING SPECIFIED DAL Baltic spotlights ETAP R8 office lighting iGuzzini MultiWoody system on iGuzzini columns ETC Source Four additional lighting for South Oil Tank ETAP K7 gallery emergency lighting Schneider control Selux bespoke linear fluorescent product for Tate Selux EUTRAC with data bus lighting track We-ef wall luminaire Level 10 Terrace Zumtobel Arcos additional lighting for East Oil Tank Zumtobel bespoke glass pendants Zumtobel Onlite Puresign emergency exit signage Zumtobel Tecton linear fluorescent Gift Shop FLOS UT track spot luminaires Xicato XTM 3,000K LED modules
Cana is a versatile profile system that can offer countless lighting solutions with best in class LED technology. Round or square shaped, fully adjustable downlights can be placed anywhere in the Cana profile. According to the needs of the project, beam angle, CRI and dim protocol can be chosen while the lumen package is in relation with the width of the profile. kreon.com
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Pics: Luke Hayes
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The gallery’s central sculptural pod is filled with an asymmetric hue using LED Linear VarioLED Flex HYDRA LD25 flexible LED strips and VarioLED Flex Color flexible linear LED light lines. A number of Mike Stoane Bay Type X surface mounted downlights are installed in a ceiling cove to create brushes of light on the floor, along the streamlines, while iGuzzini Laser LED recessed spotlights punctuate the ceiling space outside of the airflow lines, which have been painted by the room’s lighting.
A CALCULATED EFFORT Arup’s lighting scheme for Zaha Hadid Architects’ Mathematics: The Winton Gallery combines dynamic and static lighting to showcase the mathematical significance of the 1929 Handley Page Gugnunc aircraft, connecting complex mathematical ideas to every day experience with a striking visual clarity.
On 8 December 2016 the Science Museum opened an inspirational new mathematics gallery, designed by Zaha Hadid Architects (ZHA). Mathematics: The Winton Gallery exhibits more than 100 treasures from the Science Museum’s world-class science, technology, engineering and mathematics collections, which have been selected to tell powerful stories about how mathematics has shaped, and been shaped by, some of our most fundamental human concerns – from trade and travel to war, peace, life, death, form and beauty. Curator Dr David Rooney said: “At its heart this gallery reveals a rich cultural story of human endeavour that has helped transform the world over the last 400 years. Mathematical practice underpins so many aspects of our lives and work, and we hope that bringing together these remarkable stories, people and exhibits will inspire visitors to think about the role of mathematics in a new light.” Positioned at the centre of the gallery is the Handley Page ‘Gugnunc’ aeroplane, built in 1929 for a competition to construct safe aircraft. Ground-breaking aerodynamic research influenced the wing design of this experimental aeroplane, helping to shift public opinion about the safety of flying
and to secure the future of the aviation industry. This aeroplane encapsulates the gallery’s overarching theme, illustrating how mathematical practice has helped solve real-world problems and in this instance paved the way for the safe passenger flights that we rely on today. Mathematics also defines ZHA’s enlightening design for the gallery. Inspired by the Handley Page aircraft, the design is driven by equations of airflow used in the aviation industry. The layout and lines of the gallery represent the air that would have flowed around this historic aircraft in flight, from the positioning of the showcases and benches to the three-dimensional curved surfaces of the central pod structure. Mathematics: The Winton Gallery is the first permanent public museum exhibition designed by ZHA anywhere in the world. The gallery is also the first of ZHA’s projects to open in the UK since Dame Zaha Hadid’s sudden death in March 2016. The late Dame Hadid first became interested in geometry while studying mathematics at university. Mathematics and geometry have a strong connection with architecture and she continued to examine these relationships throughout each of her projects; with mathematics always central to her work.
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Design concept diagram: Courtesy of Zaha Hadid Architects
As Hadid said: “When I was growing up in Iraq, math was an everyday part of life. We would play with math problems just as we would play with pens and paper to draw – math was like sketching.” Ian Blatchford, Director of the Science Museum Group, said: “We were hugely impressed by the ideas and vision of the late Dame Zaha Hadid and Patrik Schumacher when they first presented their design for the new mathematics gallery over two years ago. It was a terrible shock for us all when Dame Zaha died suddenly this year, but I am sure that this gallery will be a lasting tribute to this world-changing architect and provide inspiration for our
millions of visitors for many years to come.” From a beautiful 17th century Islamic astrolabe that uses ancient mathematical techniques to map the night sky, to an early example of the famous Enigma machine, designed to resist even the most advanced mathematical techniques for code breaking during the Second World War, each historic object within the gallery has an important story to tell. Archive photography and film helps to capture these stories, and introduces the wide range of people who made, used or were impacted by each mathematical device or idea. Visitors will see a box of glass eyes used by Francis Galton in his 1884 Anthropometric
Laboratory to help measure the physical characteristics of the British public and develop statistics to support a wider social and political movement he termed ‘eugenics’. On the other side of the gallery is the pioneering Wisard pattern-recognition machine built in 1981 to attempt to recreate the ‘neural networks’ of the brain. This early Artificial Intelligence machine worked, until 1995, on a variety of projects, from banknote recognition to voice analysis, and from foetal growth monitoring in hospitals to covert surveillance for the Home Office. In close collaboration with ZHA, Arup developed the lighting for the gallery.
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Arup also provided structural, mechanical, electrical and public health engineering services to the refurbishment of the gallery. The architectural and lighting concept for the gallery connects complex mathematical ideas to every day experience with a striking visual clarity. Fluid dynamic lighting was integrated with static lighting to showcase the mathematical significance of the 1929 Handley Page Gugnunc aircraft - a key feature of the gallery. “The lighting design responds to an architectural concept that uses the aircraft’s aerodynamic field as a geometrical generative element. We arranged the lighting around the aircraft
to demonstrate this field, starting from the propeller and ending at the walls of the room,’’ explained Giulio Antonutto-Foi, Lead Lighting Designer, Arup. Arup applied strategic thinking and experience to the project, and focused on creating a memorable space through the use of light. The result is stunning; the lighting depicts a dramatically rendered wind tunnel. Lighting paints the airflow through the space, from the floor, walls and ceiling, to the central turbulence pod. Linear elements of lighting represent the laminar flow and pods represent turbulence. ‘‘Two ceiling recessed spotlights illuminate the airplane propeller, igniting the flow of
light,’’ added Antonutto-Foi. ‘‘A number of fixtures are installed in a ceiling cove to create brushes of light on the floor, along the streamlines. The walls represent the boundary condition and show two curvilinear coves; two lines of light moving though the gallery. The central pod is a complex tri-dimensional envelope derived from an equipotential surface around the plane.’’ Arup approached the project with the aim of achieving the highest possible quality, whilst sensitively balancing strict conservation requirements, cost and the use of the latest lighting technology. The team used their in house LightLab to
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Left A view from within the central sculptural pod is framed by a soft glow, created by LED Linear VarioLED Flex fixtures, while iGuzzini Laser Blade recessed wall wash luminaires illuminate the perimeter wall and iGuzzini Laser LED recessed spotlights pattern the gallery ceiling. Below Two of the gallery’s many historic objects are put under the spotlight. More specifically, a model of a Globtik Tanker is lit by Mike Stoane LED Goal modular showcase strip luminaires, while an early example of the world famous Enigma machine is bathed in light from Mike Stoane S-Stick adjustable spotlights.
evaluate lighting equipment and details to ensure they could specify and detail with confidence, as well as experiment with various approaches to object lighting. ‘‘The final touch was selecting the right colour for the central sculptural pod. Lit by linear LED concealed along the frame, within the double layer of translucent skin, the hue is asymmetric, to give an impression of movement. The colour was carefully selected in consultation with the design team, and no bleed is visible on the objects exposed,’’ explained Antonutto-Foi. The large lit surface also does not impact the strict conservation requirements of the adjacent objects, some of which are illuminated to 50 lux. David Harding, Principal Funder of the gallery and Founder and CEO of Winton added: “Mathematics, whilst difficult for many, is incredibly useful. To those with an aptitude for it, it is also beautiful. I’m delighted that this gallery will be both useful and beautiful.” The free to visit Mathematics: The Winton Gallery has been made possible through an unprecedented donation from long-standing supporters of science, David and Claudia
Harding. It has also received generous support from Samsung as Principal Sponsor, MathWorks as Major Sponsor, with additional support from Adrian and Jacqui Beecroft, Iain and Jane Bratchie, the Keniston-Cooper Charitable Trust, Dr Martin Schoernig, Steve Mobbs and Pauline Thomas. www.arup.com
PROJECT DETAILS Mathematics: The Winton Gallery, Science Museum, London Client: David and Claudia Harding, Winton Global Investment Management Architects: Zaha Hadid Architects Lighting Design: Arup
LIGHTING SPECIFIED Mike Stoane Bay Type X surface mounted downlights Mike Stoane S-Stick adjustable spotlights Mike Stoane LED Goal modular showcase strip luminaires iGuzzini Laser LED recessed spotlights iGuzzini Laser Blade recessed wall wash luminaires iGuzzini Pixel Pro LED downlights Optolum ELX LED cove lights LED Linear VarioLED Flex HYDRA LD25 flexible LED strips LED Linear VarioLED Flex Color flexible linear LED light lines Zumtobel ONLITE RESCLITE emergency luminaires
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Pics: The KaDeWe Group unless stated otherwise
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The renewed eight-metre tall main entrance of KaDeWe, Berlin receives the visitors with a spectacular design. Narrow lines of light, namely iGuzzini's Lazer Blade linear LED fixtures, are integrated between the coloured glass panels.
RETAIL OF THREE CITIES Licht Kunst Licht has developed lighting concepts for three department stores in the Kaufhaus des Westens (KaDeWe) Group. Working alongside renowned architects, the German lighting design studio has provided bespoke lighting solutions that underline the quality of the sophisticated retail spaces in Berlin, Hamburg and Munich, promoting exclusive shopping experiences.
The department stores Kaufhaus des Westens (KaDeWe) in Berlin, Alsterhaus in Hamburg and Oberpollinger in Munich is being gradually revamped by renowned architects over the coming years. Oberpollinger has already held an opening party for its new concept store ‘The Storey’ last October. With the openings of Berlin and Hamburg’s first redesigned sales areas on November 15 and 16 2016, respectively, the remodelling sequence has finally begun. In all three of the KaDeWe Group’s department stores, Licht Kunst Licht has provided bespoke lighting solutions that underline the quality of the sophisticated retail spaces and promote exclusive shopping experiences.
One of the major challenges for Licht Kunst Licht in designing the lighting scheme for three traditional department stores was to provide a holistic concept that responds to the wide range of retail environments with high-end brands aiming to outdo their competitors and satisfy their customers’ expectation of an appealing and stimulating shopping experience. Furthermore, the lighting solution was required to remain appropriate to the existing store locations and utilise lighting’s most state of the art technologies. All renovations were to be done without affecting store operation hours. Rem Koolhaas and OMA’s Rotterdam Office has developed an extraordinary concept
for the over 100-year-old building that houses KaDeWe Berlin’s new shopping environments. Contrary to the horizontal structure commonly found in department stores, KaDeWe will be organised vertically, dividing each floor into four different quadrants. Each quadrant is distinguished by its own independent interior design. The new building layout serves to facilitate its visitors’ orientation. Licht Kunst Licht has developed the lighting concepts for two of the newly designed quadrants. The sensible design by Milan based interior designers Storage Associati is underlined by the use of linear lighting systems within the Men’s Shoes and Accessories merchandise areas on the
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first floor. Spotlights in black recessed ceiling channels allow the merchandise to be precisely illuminated without calling attention to the lighting equipment, while the graphic appearance of linear brass fixtures running perpendicular to the ceiling channels is both bold and memorable. Iconically designed by French designer India Mahdavi, a graphic ceiling consisting of repeating light coves is the defining element of the second floor’s Women’s Designer Fashion retail area. Linear indirect light coves run across the entire ceiling and create a soft general light with a warm light
colour. Adjustable fixtures are built into the narrow beams between the coves and cast accent lighting onto the designer goods. The ten shop windows along Tauentzienstraße were also remodelled, their restored round arches being reminiscent of the building’s original design. The renewed eight-metre tall main entrance completes the picture; here, the lighting design provides the appropriate atmosphere. Track mounted spotlights trace all sides of the shop windows, unobtrusively allowing to flexibly illuminate the mannequins from concealed positions.
Moving on to the Alsterhaus, Hamburg, the new Accessories Hall’s clear interior concept by Kleihues + Kleihues provides the space with a spectacular makeover. The newly designed main entrance at Jungfernstieg welcomes visitors into a spacious lobby that leads to the newly opened Accessories Hall. This double-height space is the heart of the building – here, luxurious bags and accessories are presented on sophisticated furniture which was specially designed for the Alsterhaus by design newcomer Sebastian Herkner. Powerful, narrow-beam, ceiling recessed
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Left The exterior of the building showcases Rem Koolhaas and OMA’s extraordinary concept for the over 100-year-old building of Kaufhaus des Westens, Berlin, which has been illuminated by Insta 1065 linear LED uplights and Brumberg recessed linear LED profiles. Below Left Erco's track-mounted LED spotlights trace all sides of the shop windows, allowing unobtrusive and flexible illumination of the mannequins from concealed positions. Below Middle The sensible design by Milan-based interior designers Storage Associati is underlined by the use of linear lighting systems within the Men’s Shoes and Accessories merchandise areas on the first floor of KaDeWe, Berlin. Below The graphic appearance of linear brass fixtures of KaDeWe, Berlin‘s Quadrant C1, running perpendicular to the ceiling channels is both bold and memorable.
spotlights accentuate and sculpt the luxury products from eight metres above and specifically highlight select targets. Narrow lines of light trace the ceiling panels and fill the space with neutral white light. As a third lighting element, light boxes implement stretched fabric to frame the area of the first floor. The eight-metre high shop windows at the Binnenalster were also remodelled and are now presented in a new light. The artist Sarah Illenberger conceptualised a maritime Craft-Art-theme under the motto ‘High Season’. It conveys the fresh breeze of the new Alsterhaus
Accessories Hall. At the Oberpollinger, Munich, the concept intends to open the ground floor luxury boulevard toward the shopping street, to give the overlapping sales areas a new look and moreover, to integrate a concept store for urban wear on the basement level. In the recently completed first construction stage, the fourth floor Home & Living sales area was redesigned by John Pawson Architects. A concealed linear light illuminates the perimeter walls of the space, contributing both intuitive orientation and a pleasantly open spatial
impression. The uncluttered ceiling plan combines accent lighting in clusters and accommodates adjustable fixtures in linear lighting channels. As a creative partner for ‘The Storey’ on the basement floor, the architectural studio Gonzalez Haase AAS has created an urban atmosphere with a stylish hand. The rough, partly open ceiling design is characteristic. A functional grid of 60cm long lighting track segments consistently spans across the entire retail space, conveying an industrial look. Here, fixtures for general and accent lighting can be accommodated to create
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Above Iconically designed by French designer India Mahdavi, a graphic ceiling consisting of repeating light coves is the defining element of the second floor’s Women’s Designer Fashion retail area at KaDeWe, Berlin‘s Quadrant A2. LED Linear’s indirect linear light coves run across the entire ceiling and create a soft general light with a warm light colour. Adjustable fixtures are built into the narrow beams between the coves and cast accent lighting onto the designer goods. Left In Hamburg the clear interior concept by Kleihues + Kleihues provides the Alsterhaus with a spectacular makeover. The newly opened eightmetre-high Accessories Hall is the heart of the building. Powerful, narrow-beam, ceiling recessed spotlights from Lucifer accentuate and sculpt the luxury products from above and specifically highlight select targets.
Crown Towers, Perth, Australia Partner: Form and Light Pty. Ltd; Think Lighting Photo: George Apostolidis
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Pic: Thomas Meyer Ostkreuz
a balanced mix of horizontal and vertical illuminance intensities. Different lighting colour temperatures were intentionally chosen to aid in thematically zoning and organise the space. The lighting solutions for the three department stores provide quantifiable benefits regarding energy efficiency and maintenance. Using state-of-the-art technologies for both general and accent lighting, energy savings of approximately 30-40% and significantly longer maintenance intervals compared with the previously installed lighting equipment have been achieved. Meeting the client’s brief in terms of energy savings and easy maintenance Licht Kunst Licht have developed a highperformance lighting grid and kept the variety of different fixture and lamp types at a minimum. Moreover, the lighting concept of utilising many small light sources with relatively low power consumption (6-12W per light source) and excellent colour rendering qualities (Ra > 90) provides not only for high visual comfort, but also for adequate artistic quality and brilliance supporting the exclusiveness of the shopping environments. www.lichtkunstlicht.com
PROJECT DETAILS
LIGHTING SPECIFIED
Alsterhaus, Hamburg; KaDeWe, Berlin; Oberpollinger, Munich Client: KaDeWe Group Architects: KaDeWe, Berlin Masterplan: Rem Koolhaas, The Office for Metropolitan Architecture, Heine Projekt. Quadrant A2: india mahdavi - architecture and design, Heine Projekt Quadrant C1: Storage Associati, Heine Projekt.
KaDeWe Berlin Brumberg recessed linear LED profiles Erco Pollux LED track lights iGuzzini Laser Blade recessed linear LED fixtures Insta 1065 linear LED uplights
Alsterhaus, Hamburg Masterplan: Kleihues + Kleihues Gesellschaft von Architekten, Found Associates, Heine Projekt Oberpollinger, Munich Masterplan: John Pawson Ltd, Heine Projekt, Basement floor (‘‘The Storey’’): Gonzalez Haase AAS, Heine Projekt 4th floor: John Pawson Ltd, Heine Projekt
KaDeWe Berlin - Quadrant A2 LED Linear Xooline Hydra linear LED profiles Lucent ProSpex Gimbal Triple recessed adjustable LED downlights Zumtobel Caela surface mounted LED ceiling fixture KaDeWe Berlin - Quadrant C1 Viabizzuno Eco Mini System ceiling integrated channel with adjustable LED spotlights Selux M60 linear surface mounted LED fixture Flos Running Magnet ceiling integrated channel with adjustable LED spotlights Lucent Pinhole recessed adjustable LED downlights
Lighting Design: Licht Kunst Licht Alsterhaus Hamburg Erco Pollux LED track lights iGuzzini Laser Blade recessed adjustable LED downlights Lucifer recessed directional LED spotlights Selux M36 recessed linear LED profiles XAL Nano System furniture-integrated lighting As a creative partner for ‘The Storey’ on the basement floor of Oberpollinger, Munich, the architectural studio Gonzalez Haase AAS has created an urban atmosphere using a rough, partly open ceiling design. A functional grid of 60cm-long lighting track segments from iGuzzini consistently spans across the entire retail space, along with LED Linear‘s Xooline surface mounted linear LED track lights.
Oberpollinger Munich - Basement Floor iGuzzini Front light light track with LED track spotlights LED Linear Xooline surface mounted linear LED track lights Osram E27 retrofit LED lamps Oberpollinger Munich - 4th Floor iGuzzini Reflex recessed adjustable LED downlights LED Linear Xooline linear surface mounted LED profiles Selux M36 linear LED pendant lights Viabizzuno Eco Mini System ceiling integrated channel with adjustable LED spotlights
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Visual merchandising displays, with Cabochon lighting that frames the archways to different areas, further emphasises the main points of sale and adds to the Hollywood-style décor. Applelec LED Light Sheet illuminates parts of the display, while halogen lights from Prop Studios bring the ornate chandeliers‘ golden colour to life. In addition, a number of Lucent downlights, housing a mixture of Xicato Beauty and Artist series LED modules, provides customers with an honest and consistent shopping experience.
OLD HOLLYWOOD NEW TECHNOLOGY Keeping in style with Charlotte Tilbury’s glamourous image, Nulty has provided a lighting solution that incorporates the latest in LED technology in a way that reflects the vibrant and luxurious shopping experience found at the makeup brand’s new London Westfield store.
Located in London, UK, Charlotte Tilbury’s new White City Westfield Store has recently received a glamourous makeover, featuring an imaginative lighting scheme from lighting design practice Nulty to match the iconic brand. Charlotte Tilbury is a world famous makeup artist with a client list including Kate Moss, Cara Delevingne, Naomi Campbell, Penelope Cruz, Amal Clooney and Natalie Portman. Tilbury has been featured in Vogue, Vanity Fair, GQ and many others, with her flagship store being based in London’s Covent Garden. The Westfield emporium is the luxury makeup brand’s second and largest ever store, which has been designed to completely revolutionise the way people shop. The ‘Beauty Wonderland’ incorporates the latest digital innovations to provide a truly unique, interactive shopping experience, encased in Charlotte’s glamorous and extravagant, ‘Old Hollywood’ inspired interior. This reflects a move towards the blurring of retail and e-tail, which enables smartphones to gather and retain information on a shopper’s previous purchases and alert them with
reminders as they walk past specific stores and automatically adjust light to match ambiance depending on what a customer is buying. This is particularly beneficial to the cosmetics industry as it marks a new era when in-store lighting can offer a truer representation of customers’ skin tone, as they buy cosmetics. Excited about being part of the new Beauty Wonderland, Nulty’s brief was to deliver lighting that reflected the fun, vibrant and luxurious character of the brand while responding to the need for bright, clear and authentic lighting at makeup stations. Nulty employed its LED light source, called the Beauty Series, which it has recently developed in partnership with specialist light manufacturer, Xicato. The LED light source aims to produce the best balance between beautiful, natural skin tones and colour matching of foundation shades. Used throughout the store and at all makeup stations, the lighting provides customers with an honest and consistent shopping experience. Taking this one step further, following intensive research conducted with
University College London (UCL), Nulty blended two different types of the LED module together – the Xicato 3,000K Artist Series and the Xicato 2,700K Beauty Series – to create a set of sub-environments that provide the same authentic lighting in the appropriate tones for each area. One particular zone - the ‘Magic Mirror’ podium – includes a fully interactive camera screen that uses virtual makeup to show the customer how they would look when using different products. To ensure the camera could identify customers’ facial features correctly, Nulty used low-level lighting, positioned at face level, and downlights positioned above the head to provide the right facial illumination and ensure the lighting synchronised with the technology. Throughout the store, carefully positioned Lucent downlights draw focus to the products to make them pop, whilst the visual merchandising displays, with Cabochon lighting that frames the archways to different areas, further emphasises the main points of sale and adds to the Hollywood-style décor. Claire Hamill, Lighting Designer at Nulty
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commented: “The Charlotte Tilbury brand is famous for its vibrancy and its high-quality products. Our lighting solution was designed to create a flawless brand experience. We wanted the in-store experience to match customers’ expectations and make sure visitors could engage with the merchandise, discovering the exceptional quality of Charlotte Tilbury.” The new lighting philosophy ensures that customers shopping in-store can be assured that the lighting is truly reflective of their skin tone and ensures a seamless shopping experience when choosing a product to suit their complexion. Every lighting designer’s tool-kit comes with various aids that help sculpt and experiment with retail environments. Like a makeup artist, the lighting scheme used in the store was used as medium to create colour, texture and tones, adding depth with unseen dimensions to the scene or space. This enhances the drama in what customers see or, alternatively, gives a feeling of peace and silence when required, ensuring
the customer’s journey is enhanced. This is particularly evident in the Charlotte Tilbury store, where each zone was given specific lighting to guide the customer journey. ‘‘When employing innovative design techniques to engage and attract customers in a space, a lighting designer needs to almost be a consumer psychologist directing the moods and emotions of customers to drive behaviour. By engaging early on in the design process, it is possible to achieve the perfect lighting solution to illuminate a space,’’ concluded Hamill. www.nultylighting.co.uk
Top Right A Charlotte Tilbury island is lit by Osram LINEARlight FLEX LED tape and Applelec LED Light Sheet, while Xicato Beauty Series LED modules are positioned in the mirrors and Xicato Artist Series LED modules in the Lucent downlights. Above Right A tabled retail area is lit by Osram LED tape and Applelec LED Light Sheet. Top Left and Above Left Hollywood-style elements are highlighted by Prop Studios halogen lights and Cabochon lighting.
PROJECT DETAILS Charlotte Tilbury, London, UK Client: Charlotte Tilbury Lighting Design: Nulty
LIGHTING SPECIFIED Applelec LED Light Sheet Light Graphix LD 71 LED adjustable downlights Lucent Prospex Soft 70 trimless LED downlights Lucent Prospex Soft 90 fixed LED trimless downlights Lucent Prospex Axis Midi trimless downlights Osram LINEARlight FLEX Shortpitch flexible LED tape Philip Payne Tyke recessed emergency downlights Xicato 2,700K Beauty Series LED modules Xicato 3,000K Artist Series LED modules
For over 25 years Lucent has been driven by innovation â&#x20AC;&#x201C; providing our partners with architectural grade lighting products and seamless project integration to create effective professional lighting environments. We are passionate about quality, project flexibility and personal service for all our lighting customers around the world.
www.lucent-lighting.com
Product Featured: ProSpex Gimbal Midi Featured Project: Vince Mall of the Emirates Dubai | Lighting Designer: The Lighting Workshop New York
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TRIED AND TESTED In pursuit of creating a corporate brand experience that intrigues its visitors, United Design Practice has delivered a visual spectacle at Yizheng Stationeryâ&#x20AC;&#x2122;s new Zhejiang Province experience centre that utilises experimental lighting design from Light Collab to achieve impressive results.
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Previous Page Yizheng’s products are brought to life on an illuminated acrylic product wall. Left Illuminated with low light levels, the concept tunnel greets visitors with posters, enticing them in to the main experience zone. Below Left Playing with light and shadow, ‘Footsteps of Light’ - made of white rubber blocks that protrude from the wall in a seemingly random fashion - reveals Yizheng’s chinese characters when illuminated. Below Right A coloured light installation called ‘Speckles’ hangs as art on the wall, using customised coloured erasers on the inside to contrast with the white rubber outside when the lights are switched on and off.
Yizheng Stationery is a market leader in children’s erasers in China. Its new Zhejiang Province experience centre is situated in Yizheng’s factory so that the experience becomes a part of the entire sales journey. In doing so, it allows business partners to understand the company’s diversified product range. With this project, the aim was to bring the brand to life, making it relevant to both partners and consumers. Traditionally, corporate brand experience centres are targeted at business partners with many exhibition boards and lengthy paragraphs talking about manufacturing prowess and production capabilities. This type of execution is often uninteresting, and delivers the brands messaging on the wrong level. Interior designers United Design Practice’s approach was to deliver a visual spectacle and to impress and intrigue, leaving visitors wanting to know more. The practice’s branding concept of ‘things that can be erased and things that cannot
be erased’ is reminiscent of good and bad memories we all share from our childhood. As we grow older, the bad ones tend to fade, leaving the good ones behind. This is the empowering message behind the idea. The start of the brand experience centre leads visitors into a concept tunnel. The five key posters developed by United Design Practice, have been placed along the tunnel walls at a 15° angle (consistent with the incline in the logo). A line that shifts from black to shining white cuts the posters in half, emphasising the two sides of the same story. This line is the spatial embodiment of the idea of what is erased away and what is not. Turning the corner the line ends at opposite sides of the tunnel, cutting across a black painting and a white painting. Looking forward and backward in the tunnel is like looking into the future and back at the past. With the right encouragement, visitors walk towards the white painting, and see the growth they have attained, only to turn back to realise they have overcome the obstacles that are on the black painting.
Light Collab illuminated the concept tunnel while highlighting the posters and keeping the light levels low, as the experience was to condition visitors to enter a different zone, which will then set the mood entering the main experience zone. Entering the experience zone, the guests will arrive at the acrylic product wall, where the impressive range of products that Yizheng has produced are featured. Visitors will also have a chance to experience the Scent Library, where scented erasers made of food shapes are placed in jars, inviting guests to open them and smell. In addition to the overall illumination of the experience centre, Light Collab was given the challenge to investigate the uniqueness of the eraser products and their possible interaction with light as a major experiential and branding element. The design process started with a series of investigations, in which Light Collab tested the reflectivity, refraction quality and translucency of the rubber with light.
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It took about two months of rigorous experiments before a conclusion was made. One outcome was ‘Rubber Pendant Light + Podium’ – where tests with translucency of the rubber material in both black and white colours were used to make bespoke pendants to complete the podiums below. It took a while to get the right mix of both rigidity and translucency in the white and black rubber tubes. The team found that when the rubber material increases in transparency, it also becomes too soft and unable to stay in its square profile. It should have the right translucency, so that the internal light source will not be seen while the light can filter out from the rubber material. The black version also proved tricky as when it becomes too transparent, it will not be solid black but will appear to be more grey. Three sets of these rubber pendants were conceived, which were configured differently on the side view. In addition, when looked at from the bottom, the pendants spell the Chinese characters of Yizheng, a mirror image of the wooden blocks of the podium below. More experiments were conducted to investigate the further potential of the erasers and their interaction with light. As
a result, two more bespoke lighting fixtures were created for the experience centre, both of which were dramatised by the before and after effect of storytelling with light. Firstly, ‘Footsteps of Light’, made of white rubber blocks that protrude from the wall in a seemingly random fashion were created. With this fixture, only when the light is turned on, are the Yizheng chinese characters revealed. These experiments started with a series of small pieces of eraser from the factory. Finding the right dimensions of the solid blocks of rubber/ erasers in relation to the distance and angle of light was key in achieving the correct shadow. In the end, the size of the final installation was magnified to the actual proportions of the space. Secondly was the use of reflected light from coloured rubber blocks to compose a painting with light called ‘Speckles’. This installation was inspired by the beauty of the translucent jelly erasers that are manufactured and sold by the client. This sparked the thoughts of showing off the beauty of the coloured jelly erasers using reflected light. Thus, United Design Practice made the inner sides of the blocks using specially customised pieces of coloured
erasers, while the exterior side of the blocks were left white, so that people appreciate the simplicity of the white blocks when the lights are off, and are surprised by the other side of the erasers that create the reflections. United Design Practice has delivered a visual spectacle at Yizheng Stationery’s new Zhejiang Province experience centre that utilises experimental lighting design from Light Collab to achieve impressive results. www.lightcollab.com
PROJECT DETAILS Yizheng Brand Experience Centre, Zhejiang Province, China Client: Yizheng Stationery Interior Design: United Design Practice, Beijing Lighting Design: Light Collab, Singapore Lighting Specified: Bespoke lighting by United Design Practice and Light Collab; Alto O1 Recessed downlights; Lutron Homeworks, with app control
Left and Top With great attention paid to concealing the internal light sources, Light Collab’s experimental bespoke rubber pendants play with the translucency, reflectivity and refraction quality of black and white rubber to illuminate the wooden podiums below. Above As well as providing a unique and intriguing brand experience, United Design Practice and Light Collab have illuminated a retail display area for Yinzheng’s vast catalogue of stationary products.
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FUTURE PROJECTION James Murray is Marketing Director at Projection Artworks - a full service projection-mapping studio - and DisplayMapper - a cloud-based media server for permanent projection installations. Here, he gives us this thoughts on the future of architectural augmented reality.
Light has immense potential to change the design of a space. But if you’re a reader of mondo*arc, you already know that. What you may not know, though, is that lighting design’s shape-shifting potential is about to get a whole lot more interesting. That’s because we now have at our disposal a way to make projection-based installations continually change the surface, texture or material of an architectural space on a permanent basis and at the mere touch of a button. Although it sounds like science fiction, the tools needed to pull off this innovative feat – creative projection mapping combined with cutting edge laser projection – are already in place and aching to be used. We just need a few brave trailblazers to recognise how powerful this combination can be in creating next-generation architectural lighting design. Projection mapping involves applying projected animations and images across the exact geometry of 3D objects and spaces,
but - and crucially - said images have to be augmented to lock precisely onto the environment’s geometry. It’s a technique that tends to leave people awe-struck because it can recreate the physical space of an installation in a virtual space, using 3D software packages. This means all manner of mindboggling effects and animations can be made to interact with their physical environment when projected onto a real world surface. From playing with shadows around ornate features, to water drops splashing on window ledges or architrave; content designed with real-world physics creates something unquestionably magical and bespoke. If projection mapping sounds a bit technical, it’s because it is. But what the end-user sees is nothing but sheer mindblowing creativity: a seamless special effect that suspends disbelief to leave people thinking they’re looking at a morphing building; unaware they are, in fact, merely looking at a projected moving image. This
is how we can fool the human brain into thinking a building is coming alive. From transforming the vast rooftop of the O2 arena into a giant blossoming English rose for the 2015 Rugby World Cup, to morphing a theatre set that nurtures a whole new genre of live performance; the art of projection mapping is causing quite a stir in creative circles. The possibilities are near limitless because pretty much any type of image can be used: static photography, otherworldly CG animation and even live data visualisation. To be fair, projection mapping itself is not radically new. For the past decade, those in the know have been evolving the technique to create some of the world’s most memorable stunts over some of the world’s most memorable buildings. Thanks to projection mapping, we have seen the Sydney Opera House transformed into an animated canvas of Australian indigenous art and we have seen Battersea Power Station’s iconic towers turned into
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gargantuan speakers. What is new, though, is the projection technology that underpins these stunning transformations. Until now, projection mapped installations have relied on lamp-based projectors: a solution that has relatively short shelf life because it’s simply not possible to leave a light on for years on end. And we’re not talking about a single lamp or bulb here. To pull off an aweinspiring, large-scale projection requires a lot. It elevates the “how many lighting designers does it take to change a light bulb?” joke to a whole new level. The comparatively high-maintenance and expensive nature of lamped projection has been a big barrier for projection installations. There has to be a tangible pay-off if you’re going to invest money, time and effort in a project that can only realistically last a few hours. Fortunately, this quandary may soon be assigned to history thanks to the arrival of a new breed of projector: the laser projector.
We are on the cusp of a revolution in projector technology because lasers have the potential to eradicate antiquated lamps and creatively limiting LEDs. To the uninitiated, this may seem like a granular, geeky detail but its impact on projection mapping is potentially immense. Not only do laser projectors come with the benefits of twice the perceived brightness and minimal maintenance; companies like Panasonic, Christie, Barco, Optoma and others are making them more affordable; and – crucially for the purposes of long term projection mapped installations – they last for years, not hours. The relative affordability and longevity of laser projectors open up a whole new world of opportunity for projection mapping. Instead of investing heavily in a projectionmapped stunt that, thanks to the short shelf life of lamps, can only last a few hours; laser-based installations can instead be built to last for years. Ergo, you get a whole lot more bang for your buck.
Using lighting design to turn buildings into image-hungry canvases is already ‘a thing’ in glitzy oil-based economies like Dubai and Azerbaijan. Here, they circumvent the problems that come with lamp projections by using LEDs instead. And, somewhat ingeniously, rather than adding them as a surface detail, these LEDs are often embedded into the actual fabric of the building (a great example of why lighting should be considered at earliest stages of architectural design, rather than as an after thought). This means the LEDs can be programmed to conjure up different moving effects, like fire for example, by programming different colour sequences. Forward thinking though this is, the overall effect is a bit, well, ‘pixelly’. There’s no beating around the bush, images created via sequenced LEDs simply lack the sophistication that comes from a more coherent laser projection. What’s more, when a building is continually covered in LEDs, it can make it hard to appreciate
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underlying architecture. Whereas projection can add an enhancing layer, rather than obscuring all the hard earned inspiration that went into that beautiful architectural design. With laser projectors taking large-scale projection-mapped installations from the temporary to the realm of permanent, the next issue is: why? What do vast 3D projection-mapped images bring to an architectural space? The answer is refreshingly simple: they bring magic. Salesforce turned an otherwise anodyne corporate lobby in their San Francisco HQ into a major talking point. They used giant screens showing interactive video content that was made to look like a waterfall cascading down the walls. The effect is stunning and is an early example of how footfall-dependent destinations like shopping malls, museums and visitor attractions can use these types of visual effects to turn bland spaces into aweinspiring attractions that draw bigger crowds and ultimately increase revenue. The problem with this example, though, is that it involved installing a 106-foot, custom-made interactive LED video screen. Not only is such a thing eye-wateringly
expensive, it also creates a cumbersome weight-load that can impact on the building’s structure. Perhaps more saliently though, the mere fact that it’s a screen can be a turn-off in itself. In an age where the majority of people in the Western world carry interactive screens in their pockets (thank you iPhone!), their wow factor is, alas, diminishing. By comparison, projection-mapping is a hassle-free and creatively unlimited solution that’s still new enough to seduce. When it’s applied to architectural spaces, it has the power to transform the appearance of an entire building. If images of wood, glass, cladding or bricks are mapped specifically to a building’s unique geometry, we can create the impression that the building’s fundamental elements are changing on a regular basis. Surely, that’s a show-stopper if ever there was one. With projection-mapped installations moving out of the temporary and into the permanent, lighting designers, building owners and architects will soon be able to create the illusion of continually changing structures and surfaces. The creative possibilities are electrifyingly endless and you don’t even need a large scale ‘canvas’
Previous page Virgin Money makes use of projection mapping capabilities. This page Various examples of how projection mapping can bring an environment to life.
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to pull it off. Increasingly, businesses are waking up to how this technology can be used to create magic in smaller spaces too. From restaurant table tops to corporate reception areas, no space is too big or too small to benefit from the sheer amazement that goes hand-in-hand with permanent projection-mapped installations. Adding a digital layer of aesthetic content to physical environments taps into society’s burgeoning appetite for merging the digital into the real world. Early adopters are trembling at the knees over much hyped new tech like the Oculus Rift (a virtual reality headset) and Hololens (Microsoft’s augmented reality goggles that place digital images into the user’s surround physical environment). If their uncontainable exhilaration is an early sign of wider popularity, this marriage of the physical and digital is exactly the type of wow factor that the masses will soon be crying out for. But in the same way that interactive LED screens limit the creative process with their cumbersome logistics, the bulky headsets
that go with virtual and augmented reality act like an interruptive barrier between the user and the aesthetic experience. This minimises the all-important suspension of disbelief and reminds users that what they’re seeing is an illusion; whereas projection-mapped installations don’t require unwieldy headgear to immerse viewers in their mind-bending imagery. The effect is almost like a goggle-free form of augmented reality. Savvy lighting designers continually strive to bring innovation into what they do. But it’s tricky to constantly be original when new processes and technology rarely come along. So the parallel developments that are going on in projection-mapping and laser projection create a golden opportunity that shouldn’t be missed. When the two are combined, we have a long-term and affordable solution for creating a new genre of lighting design that can stun the whole world. Exhilarating times lay ahead. www.projectionartworks.com www.displaymapper.com
Public outdoor spaces and buildings are washed in colour and scenography. Pictured top left is the Battersea Power Station in London, transformed into giant loudspeakers for an event.
LED EXPERTISE SINCE 1977
Pic: © LEC/Xavier Chabert
City of Lyon’s lighting scheme: Enhancing the landscape and saving energy by 86% *
*Source: City of Lyon
www.lec-lyon.com
Rue de la République, Lyon (France) in use: LEC’s 4660-Corsica in 90W Lighting designer: Atelier Roland Jéol
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FESTIVAL SEASON We recap on some of the artistic wonders from recent international light art festivals, including Amsterdam Light Festival, Lyon Fête des Lumières, Light Up The North, LewesLight and Winter Lights Canary Wharf.
Pics: Janus van den Eijnden
ARCO - Theresa Mar.
AMSTERDAM LIGHT FESTIVAL Every edition, Amsterdam Light Festival artworks are selected by a jury through a Call for Concepts, where international artists are asked to submit new ideas. The 2016/17 festival consisted of two different routes. Water Colors, the boat route, took place in the canals of Amsterdam and let visitors experience the artworks from a water perspective. Illuminade, the walking route, exhibited artworks and installations in the Plantage neighbourhood. Every year, the festival introduces a new theme which the artists base their work on. For the this year’s Water Colors theme, artists were challenged to give a new view on the city and its architecture, future and role in the world. Amsterdam serves as a canvas for new art and light installations that are connected to specific characteristics of the city. The theme was interpreted by the artists in their own way, sometimes historic, futuristic or with humour and irony. The artworks offerered new perspectives to the visitors and raised questions about the city. Secondly, the Illuminade route focused on a theme of biomimicry - the science of the logic and structures of nature being applied to solve human problems. Think of energy efficient buildings inspired by termite mounds or antibacterial surfaces inspired by red seaweed. The artworks that were selected engaged in a dialogue based on all aspects of the biomimicry theme. www.amsterdamlightfestival.com
Water Colors Installations: Ana Morphè – Isabel Nielen, Together – Luigi Console & Valentina Novembre, Bridge of the Rainbow – Gilbert Moity, Blueprint – Reier Pos, Bunch of Tulips - Peter Koros, Nexus – Victor Viscek, ARCO – Teresa Mar, What’s he building in there – Laurent de Wolf, A Window in Time – Motion Paintings, Nest – Vikas Patil & Santosh Gunjar, WISP - Pitaya, The Lace – Choi+Shine Architects, Wolfert’s Dog – Tatiana Titova, 15000 and more – Studio Klus, Rhizome House – DPArchitects, Lightwaves – Benthem Crouwel Architects, Eye_Beacon – UNStudio, Flower Strip - Aether & Hemera, Welcome to my (home)town - Lighting Design Academy, Souvenir – Erik Kessels. Illuminade Installations: Mens - Human - Edson Bruno Filho, Green House – Victor Engbers, Mini-Biomimimcry - Stichting Schoolbuurtwerk and eight Amsterdam primary schools, Nerve member Lydia Fraaije, SONAR Light Pulse - Paul Cremers, Rotifers - Nicole Anona Banowetz, Under Influence - Iemke van Dijk, GREEN PIGS - BIBI, Enthalpy - John Bell, Hourglass - Wilhelmusvlug, You Lookin’ at Me? - Tropisme Art & Science Collective, Flowering Phantasm - Clay Dorse Odom, Human Beeing - The Constitute, Dancing with Trees - Reanna Niceforo and Phil Sutherland, Living Pods - Anouk Wipprecht, Tree Hugger - Daan van Hasselt and Asia Jackowska, Translucent - HvA and Breiter Aademy, From Twente with Love - Randy van Lingen and Vanessa Evers.
ARCO by Austrian artist Teresa Mar is an archshaped veil of water full of light and visuals, consisting of an abstract composition of thoughts and moments connected to Amsterdam. A Window in Time is a dynamic photomontage through which you can gaze into Amsterdam’s past. The design consists of separate coloured layers that have their own visual content but together create the illusion of movement. Together by Italian artists Luigi Console and Valentina Novembre is a multilingual comment on the contemporary status of love, referring to the international character of Amsterdam. 15000 and more by Studio Klus is a light installation that reminds locals and visitors of the estimated 15,000 bikes that are fished out of Amsterdam‘s canals each year. Rhizome House from DP Architects is a life-size display of a rhizome - a modified subterranean root that puts out buds from its nodes. With light responding to visitors, the experience is simultaneously familiar and foreign. Inspired by the traditional Dutch lace cap, The Lace from Choi+Shine Architects consists of eighteen different panels that have been manually woven by nine people with 33,000-metres of light reflection thread, weighing 650kg. Bridge of the Rainbow by French artist and light designer Gilbert Moity makes an elusive natural phenomenon, tangible. The artwork symbolises the open-mindedness and diversity that are typical of Amsterdam’s community. Eye_Beacon is located on a bridge but is inspired by the deep dark waters of the sea. Here, organisms use bioluminescence to communicate. Created by UNStudio, the artwork consists of two connected cubes that are arched with each other using a custom made stretchable fabric. Eye_ Beacon is also the central information booth of the festival and connects the Water Colors boat route with the Illuminade walking route.
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Together - Luigi Console & Valentina Novembre.
A Window in Time - Motion Paintings.
15000 and more - Studio Klus
Rhizome House - DP Architects
The Lace - Choi+Shine Architects
Bridge of the Rainbow - Gilbert Moity
Eye Beacon - UNStudio
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Caprice by Sebastien Lefèvre - Pic: Ville de Lyon - Frédéric Guignard-Perret
Voyage by Camille Gross & Leslie Epsztein - Pic: Graham Festenstein
Step Up! by Nicolas Galland and Julien Lafosse - Pic: Graham Festenstein
LYON FÊTE DES LUMIÈRES Words by Graham Festenstein, Lighting Designer and organiser of LewesLight. Lyon’s Festival of Light takes place around the 8th December each year and, as the grandmother of all lighting festivals, has been running in its current form for almost twenty years. As someone who has routinely advocated the benefits of lighting festivals from both a social and economic perspective, and also as I have recently been organising a festival of my own, I took a trip to Lyon to see first hand how an event with such a great pedigree is delivered. Lyon is not a small city, located at the meeting of two rivers and partially on a hill it has beautiful buildings and an interesting and long history. From a lighting perspective it has an important history as well, as Lyon was the first city to develop an integrated lighting strategy back in the late 1980s. The festival has now grown to grand proportions, attracting around four million people each year. Following security fears after the events in Nice and Paris, this year’s festival was reduced to only three days and was more contained within the
historic city centre than in recent years, however it still took two long nights from 6PM until midnight to experience all that was on offer. The range of installations was diverse in terms of content, style and concept, there was a high representation of video mapping installations and, not surprisingly for France, many installations were accompanied with a soundtrack Son et Lumiere style. Some installations were clearly intended for families with young children whilst others were more cerebral and demanding. Almost all of the installations were dynamic in some way both in terms of movement and colour. Of the 35 primary installations several stood out for me as being especially successful. Those that know me and my sometimes conservative approach to design might be surprised but my favourite was Benedetto Bufalino and Benoît Deselle’s La Bétonnière Boule à facettes, a cement mixer converted to a giant rotating mirror ball, lighting up the surrounding buildings accompanied by ’90’s disco hits. A close second was Yann Nguema and EZ3kiel’s installation
Evolutions on the Saint-Jean Cathedral, possibly the best video mapping I have experienced and even more impressive when you consider that Yann is foremost a musician who apparently has only been working with video for a couple of years. Another great video installation was Voyage by Camille Gross and Leslie Epsztein, projected onto the Gare Saint-Paul it was a temporal journey through the station’s history and into the future. Not that many of the installations were actually site specific and / or inspired by the context of their location, which I found a little disappointing, although when a festival gets to this size and popularity it is difficult to know if this really matters as the average visitor will be content with the spectacle, drama and scale of the event. It is also worth noting that the city looks to deliver an event for all of its inhabitants and not just those with sometimes pedantic attitudes to art and design. Personally I prefer a more considered approach, providing a more contemplative and interpretive experience that draws reference in some way to the context of
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Evolutions by Yann Nguema and EZ3kiel - Pic: Ville de Lyon - Muriel Chaulet
Platonium by Éric Michel and Akari-Lisa - Pic: Ville de Lyon - Muriel Chaulet
the place. Lyon did achieve this with the installation Candles from the Heart in the Théâtre Antiques de Fourvière. Despite the number of people, these amazing spaces lit by approximately 20,000 candles provided a calm and contemplative space and a little respite from the crowds and bright lights further down the hill. The other nice aspect to these pieces was the element of surprise and the unexpected arriving in a calm and relatively quite space, which was welcome and refreshing in many ways, taking the breath away more successfully than the big bright and dynamic pieces elsewhere. In addition, this piece, which is repeated in different ways and locations each year, raises money by donations from visitors for each candle which are distributed by the charity Electriciens Sans Frontières promoting access to electricity to destitute populations. Other installations I particularly enjoyed were Caprice by Sebastien Lefèvre on the banks of the Rhône, comprising four dynamic towers, swirling vortexes of light driven by the power of the river itself. A small interactive installation popular with
Candles from the Heart - Pic: Graham Festenstein
Platonium by Éric Michel and Akari-Lisa - Pic: Ville de Lyon - Muriel Chaulet
families and young children was Step Up! by Nicolas Galland and Julien Lafosse. Platonium by Éric Michel and Akari-Lisa Ishii is a collaboration between artist and scientist using an exciting self illuminated fabric strip and Roboticum by Yves Moreaux, a fun installation using large LED panels articulated by industrial robots – an example of how the festival works with local industry. I had a good time in Lyon; it is a big, slick and professionally delivered event that caters for many diverse people and does wonders for Lyon’s tourism and reputation. At that it succeeds perfectly and is a great festival. www.fetedeslumieres.lyon.fr
Caprice by Sébastien Lefèvre - transformed into glowing turbines, the four masts of the Centre Nautique Tony Bertrand became lighthouses on the Rhone. This energy is symbolised by the motion of vortexes of light in monumental dynamic spirals. Voyage by Camille Gross & Leslie Epsztein bearing witness to the cycle of time and eras, the clock and its mechanism sent spectators back to the Industrial Revolution and the Belle Époque. A flow of light illustrated the present and the future of this journey through time and space. Step Up! by Nicolas Galland and Julien Lafosse the curiosity of passers-by was leveraged in this participatory installation that offers them, for a brief moment, the chance to become sound and lighting designers. By stepping on glowing, multicolour tiles in the floor, they activate the lighting and sound, and compose the atmosphere that transforms the place as the evening unfolds. Evolutions by Yann Nguema and EZ3kiel - pixel by pixel, the artists told the story of Cathédrale SaintJean. Like 21st century stonecutters, inspired by the futuristic comics of Schuiten, they carved their artworks out of poetry, mystery and ambience. Platonium by Éric Michel and Akari-Lisa visitors were immersed in the scientific world of laboratories, discovering an interactive way to clean up the air and water. The infinitely big became infinitely small with the multiple panels of aesthetic and hypnotic videos laid out in succession in the Atrium of City Hall. In the upper courtyard, there is a big arch made of strips of glowing, fluorescent woven textiles. This structure guides visitor to a band of luminous depolluting fabric.
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LIGHT UP THE NORTH ILLUMINATING YORK Students from York College, Fulford School, St Wilfrid's RC Primary School and The Mount School took part in Society of Light and Lighting (SLL) workshops at illuminating York in October 2016. Their designs were used by the SLL to show four famous York landmarks in a new light. Their resulting designs were then put before a panel of judges, with the winners used to illuminate St Leonard’s Hospital, St Michael-Le-Belfrey, Exhibition Square and the Multangular Tower in the city’s Museum Gardens. Created by the SLL, the workshops - called Pockets of Light - saw the society visit each school to demonstrate the science behind lighting and its potential to create artistic designs. The workshops also looked to help the students re-think places in their own city, which could be transformed using creative lighting design. The displays were part of the SLL’s contribution to the illuminating York festival, during which landmarks around the city are lit by artistic lighting designers, including: Light Masonry by Jason Bruges Studio at York Minster; Lumenpulse at the Royal York Hotel; Lumenpulse at Clifford’s Tower; Travelling Light by Heinrich & Palmer at the National Railway Museum; Lumen by David Ogle at York St John University; re Connecting re Creation by Helen Maurer at Holy Trinity Church; Loopy Lou by Rémi Brun at King’s Square; and Orbit by Studio PSK at Shambles. Alexandra Cornel Atkinson, a second year student on a production arts programme at
York College who attended the workshop ‘Introduction to architectural lighting’, said: “I found the workshop interesting, learning about how architectural lighting has similarities to theatrical lighting, also the use of additive colour mixing with red, green and blue LEDs and white LEDs and the way they produce wonderful subtle hues that I will continue to use on other installations and productions.” Jane Conway, Head Teacher of St Wilfrids, added: ‘‘St Wilfrid's was delighted to take part in the illuminating York project. The challenge of designing a light display for a section of the city walls not only captured the imagination of our Year 6s, it also gave them an exciting, hands-on science experience to remember.’’ Dan Bodey, Deputy Head of Fulford School, said: “This was a fantastic activity that engaged and inspired our students. The chance to learn new skills, rooted in such a high profile in our city was a real opportunity.” Jeff Shaw, President of the SLL, concluded: “We are delighted to have had the opportunity to work with students to create these spectacular designs for illuminating York, and also to have had the opportunity to demonstrate the exciting potential of light as an art and a science. The students’ designs were fantastic, and I’d like to congratulate them on their hard work.” The students’ work was visible as part of illuminating York from 26th – 29th of October. www.illuminatingyork.org.uk
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Beach House Fireworks. Pic: CJGriffiths Photography
LIGHT UP THE NORTH LIGHTPOOL Over 50,000 people attended the LightPool Festival from October 28 to November 2 2016 in Blackpool. The newest light art festival in North England (and newest Light Up The North network member), it celebrated last year’s Blackpool Illuminations, the world’s oldest, free light show. In 2014, The Coastal Communities Fund invested £2million into Blackpool over two years with the aim to create sustainable growth through cultural innovation. Building on the love for the Illuminations, LightPool developed a creative vision for the 105-year old show. Reconnecting The Lights with the people of Blackpool is a key part to this, and with additional support from Arts Council England, LightPool brought together the strands of the two-year programme into a free celebration of light, art and fire. “There is nothing quite like Blackpool Illuminations in terms of scale,” said Alex Rinsler, Creative Lead and Festival Director. “Over many years the Illuminations have played with light and lighting technologies to create a magical experience for people to enjoy. The LightPool Festival offered the opportunity to make work in the place where The Lights began.” 35 light installations included 21 new commissions, six large-scale productions, five giant projection shows on Blackpool Tower, on-going community and engagement work and a conference. Installations were curated to appeal to a wide range of audiences, and to celebrate the diversity of light technologies with 2D, 3D, durational and interactive works. From a rusted Punch and Judy booth playing a fifteen-minute projection (Salvage Sideshow by Hannah Fox), to a colour wheel of light transforming
the Winter Gardens’ iconic dome (Round Gradient Remix by Liz West, in partnership with Lumenpulse), or a ghostly figure haunting a lonely bench on Blackpool’s promenade (I Waited by Elisa Artesero), the festival opened up the town in unusual ways. A scientific piece, Brain Container by Jo Berry, illuminates a series of digital design drawings from a range of neuroimages from Dr. Lena Palaniyappan’s research to create images for a thoughtprovoking installation. The display is accompanied by music by composer Angela Slater, having designed the sound in response to imagery found in Berry’s studio. Activist and light art pioneer Yoko Ono offered two works created 50 years apart: Parts of a Light House and Imagine Peace. Parts of a Light House – 60 delicate glass prisms refracted light in response to Ono’s original script from 1965, describing the lighthouse as ‘a phantom house that is built by sheer light’. The work illuminated the altar of Blackpool’s Sacred Heart Church, well-known for its unusual octagonal roof. Secluded in a chapel to one side, was Michael Trainor’s Goodbye Coco, a coffin for a fictional clown, bedecked in 540 fairground lights. Turner-prize nominee Mark Titchner created two projected works that referenced ‘Progress’: Blackpool’s borough motto. Plenty and Progress, inspired by Claudegen’s 1930s neon designs, to illuminate Blackpool Town Hall - a symbol for development and prosperity. Nearby, What use is life without progress? reflected unreasonable pressures for selfimprovement, a giant gobo projection not out of place on Blackpool’s promenade.
The LightPool project has enabled the town to come together around light: The Grundy Art Gallery hosted NEON: The Charged Line, which attracted a record number of visitors and received national coverage, including iconic works from Tracey Emin and David Batchelor. Works from the show spilled out of the gallery, including Let’s Pretend This Never Happened by Tim Etchells, positioned on the roof of the building. Also of note was Art Is Your Human Right: five illuminated signs from Bob & Roberta Smith, manufactured at the Illumination’s depot. They create a visual trail and work to challenge perceptions of public space. It appealed to the artist that the signs would need to be cared for and maintained over time, just like our own human rights. “Producing a light art festival in Blackpool presents its own challenges,” added Rinsler. “The town is already bathed in flashing lights. We encouraged artists to play with what is already here – not to compete with it. Local ownership is vital to its success in the long-term, so events like Lumidogs (a mass illuminated doggy fashion show) are just as important as strategic partnerships with makers and innovators like Lumenpulse, or presenting work from some of the world’s most important light artists.” The aim is to develop the event as a biennial, showcasing the best of light and fire-based performance, as well as visual arts. “Blackpool’s history with light and with entertainment sets it apart from other places. It’s a gap in the cultural landscape that fits Blackpool’s personality and history,” concluded Rinsler. www.illuminations.visitblackpool. com/#lightpool
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Round Gradient Remix, Liz West. Pic: David Mercado
When The Red Rose In Blackpool, Steve Massam. Pic: CJGriffiths Photography
Parts of a Light House, Yoko Ono. Pic: CJGriffiths Photography
Light Lessons, Emma Allen. Pic: CJGriffiths Photography
Brain Container, Jo Berry. Pic: Alan Fletcher
Goodbye Coco, Michael Trainor. Pic: CJGriffiths Photography
I Waited, Elisa Artesero. Pic: CJGriffiths Photography
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LIGHT UP THE NORTH LIGHTWAVES Quays Culture recently launched the UK’s biggest digital light festival, Lightwaves, which took place in December last year. The festival brought light to the dark winter nights, as nine free light experiences spanned across The Quays in Manchester, from the Plaza between The Lowry and the Lowry Outlet, to MediaCityUK’s Piazza, and even illuminating the River Irwell. The festival featured new and exclusively commissioned digital art displays alongside emerging talent, light workshops, and illuminations - from local, national, and international artists. “People will love that this ten-day, annual, free event brings unexpected and beautiful artworks into outdoor spaces,’’ said Lucy Dusgate, Programme Producer at Quays Culture. “Central to each year is a new large-scale art commission, ensuring Salford is home to the best in innovative art creation. This year, we have everything from a large heart that illuminates when you hold hands, to 198 small, floating boats strung across the water whose rainbow of colours you can change with your mobile phone. Two years ago, we started off with just one artwork, and have grown to showing nine, including some fun historic ones from the infamous Blackpool Illuminations collection. Each year, we commission a brand-new digital sculpture for the Lowry Plaza outside The Lowry Theatre. All of the artworks we show come from artists who use digital in their work, so the art can be as intriguing as it can be inspiring.” A brand new, large-scale commission, specifically for Quays Culture, is Heart Beat, the brainchild of artists and installation specialists, GNI Projects, who used Radiant Lighting following their collaboration at darc night. A co-commission with Blackpool Illuminations, Heart Beat is part of the GNI
Project’s ‘Light Love Collection’ - a series of art installations using mixed lighting media to create the symbol of a heart. From one angle Heart Beat is an animated 3D heartbeat pulsing through the sculpture. From another angle, the lights join to form a heart. For the heart to appear spectators are encouraged to make a connection of love, or friendship, by joining hands in front of the sculpture; human touch reveals the heart. Once the connection is lost the heart is broken into fragments again. Created by Aether & Hemera – a multidisciplinary art and design studio, producing contemporary lighting art and interaction design - Voyage features six lines of 33 origami boats, occupying a space of 630m2 - the 198 boats were designed to engage with the community and transform the waterfront. The fleet composes an organic matrix of interactive lights, which change colour when passers by interact with it on their mobile phones. The public can transform the pattern and colour of the paper boats by connecting their mobile device to Voyage Wi-Fi network and opening their browser to access Voyage.co.uk; users are given a choice of artworks to interact with, such as a rainbow or the night sky – choosing an artwork option to change the colour of the boats in the water. This year, Quays Culture collaborated with lighting legends of the North, Blackpool Illuminations. Quays Culture is currently showcasing items from Blackpool’s light collection, which reflect the location of MediaCityUK, home to the BBC, including Dr.Who Daleks, The Tardis, and Spacemen. The collection also features iconic children’s characters, including Noddy, Postman Pat and SpongeBob, along with a forest of LED trees. An emerging talent programme, SHINE, in partnership with Leeds Light Night, has seen
the creation of three new commissions, from up-and-coming artists. Footsteps, by Sam Sebbage, consists of 80 illuminated footsteps walking a path. Each footstep is created from artificial grass and embedded with lights; representing the path each of us walks. Edyta Masior is the artist behind Laiki#5 – fluorescent fishing lines are suspended within a structure and fitted with contact microphones. This interactive installation creates air vibrations, when the strings are plucked, creating sound, like that of a harp. Fireflies, a creation from Fixed Grinn Collective, is a series of floating illuminations, which interact with their surroundings as they ‘fly’ amongst those that visit them. Consisting of hundreds of illuminated LED spheres that seamlessly float, the installation interacts with the public as its fire-like embers swirl; forming a connection, which is organic, yet synthesised, mechanic, yet fluid. Today I Love You, created by Massimo Uberti & Marco Pollice, was commissioned for Amsterdam’s Light Festival 2015. Italian artist, Uberti is known for his poetic light installations; he wrote out this simple sentence in light, so that the words become matter and, more importantly, the uplifting words are repeatedly enjoyed. This presentation marks the start of a partnership between Quays Culture and Amsterdam Light Festival. Lightwaves 2016 was made possible by funding from Arts Council England and AGMA, and support from The Quays, The Lowry, Peel | MediaCityUK and Salford City Council. Quays Culture is a member of Lighting Up the North, a network of light festivals taking place in seven cities across the North of England. www.quaysculture.com #Lightwaves2016
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Left Hand Page Aether & Hemera’s Voyage decorates the waterfront with its 198 illuminated origami boats. Left Reflecting the festival’s location, various items from Blackpool Illumination’s collection stand bright along the waterfront of Salford Quays. Below Left A couple embrace to reveal the heart in GNI Projects’ Heart Beat installation. Below An astronaut from Blackpool Illuminations’ collection offers a warm embrace during winter nights in Manchester. Bottom Visitors reflect on Massimo Uberti & Marco Pollice’s poetic sentence installation, Today I Love You.
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Pics: PA
WINTER LIGHTS January’s dark evenings were illuminated throughout London’s Canary Wharf by angels, glowing graffiti and floating poetry, revealed by state-of-the-art light technology. These formed part of the free Winter Lights exhibition, which opened on 16 January 2017. For the third year running, Winter Lights brought spectacular artworks, installations and experiences to Canary Wharf, many of them interactive or responsive. As a collection, the 30 pieces showcased works by some of the most inventive and exciting international artists working with Light Art today. Visual Arts curators of Canary Wharf Group plc, Keith Watson and Sally Williams said: “This year’s amazing Winter Lights festival was our best yet, surpassing last year’s spectacular award-winning offer. The roster of artists we attracted this year are some of the most imaginative creators working in the field today.” Some of the pieces on show – Angels of Freedom, Luma Paint, OVO (OVO Collective), Horizontal Interference, Digital Skin, Nonotak, Origin and Water Wall – had
never been exhibited in the UK before, making this year a truly unique experience for visitors. Angels of Freedom, by Merav Etan and Gaston Zahr, contained a deep underlying message discouraging discrimination through interaction. Five giant wings with white halos invited people to turn into angels in a few simple steps through the power of photography social media. OVO (OVO Collective) immersed visitors in unique and beautiful light structures whilst Marcus Lyall’s On Your Wavelength was a mind-powered laser and sound installation of over 20,000 LEDs. Lyall’s structure used participant’s brain activity to choreograph beautiful light patterns. Visitors were invited to put their painting skills to the test in Mateo Mounier’s Digital Skin, creating compositions of bright colour and pattern. Meanwhile over the weekend of 20 –22 January, live graffiti crafted from light was on show with Luma Paint Light Graffiti (Lichtfaktor feat. Helge Bomber Steinmann), transforming any object in to a live painting canvas. Bringing a further element to the fore, Water Wall (Gregory
St. Pierre) used a mist screen to interact with visitors as they created beautiful patterns on to a wall of water. For contemplation, The Garden of Floating Words by Elisa Artesero evoked a peaceful note, giving the impression that a cluster of glowing neon words floated in the foliage of Jubilee Park, creating a poem of transience. BLOOM (Squidsoup) also had a calming effect made up of a thousand spheres of light each bobbing gently in the wind. One piece drew attention to world issues, created by Mike Stephen and school children, Liter of Light, which highlighted the need to give light to undeveloped countries. In conjunction with the Winter Lights festival 2017, an exhibition by artist Lillian Lijn featuring spectacular sculptural works using light will be on display in the lobby of One Canada Square from 8 January to 17 March 2017. Winter Lights Festival 2017 was free to the public and could be seen across the Canary Wharf Estate from 16–27 January 2017. www.canarywharf.com/arts-events/ events/winter-lights-2017/
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Pic: Guy McKinley
Left Hand Page OVO by OVO Collective, Montgomery Square. Left Hand Column T to B The Garden of Floating Words by Elisa Artesero, Jubilee Park; Angels of Freedom by OGE Collective, Merav Eitan + Gaston Zahr, Canary Wharf; Horizontal Interference by Joachim Slugocki + Katarzyna Malejka, Westferry Circus; Selected Works by Aphra Shemza, Crossrail Place Level -3. Right Hand Column T to B Our Spectral Vision by Liz West, Crossrail Place Ground Level; On Your Wavelength by Marcus Lyall, Crossrail Place Level -3; Bloom by Squidsoup, Westferry Circus.
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Pics: James MacCauley
LEWESLIGHT Taking place October 2016, the second LewesLight Festival built on the success of the previous year, expanding to include a broader team of designers from theatre / opera, music, architecture and art backgrounds, joining the architectural designers who took part in 2015. The festival also expanded its educational component to include STEM workshops in association with the University of Sussex and activities of an environmental focus with the South Down National Park and a local nature reserve. The latter to produce torch installations, an interactive sculpture, night walks and stargazing. The main festival remained very much the same with a number of installations designed to investigate themes and narratives from local history and reinterpret buildings and spaces in an unexpected way. The installations ranged from prominent landmarks such as the Castle and Priory, through to houses and more prosaic features normally passed by with little thought. Each was intended to work alone or to provide a backdrop for guided historical walks. This
year’s designers and artists were as follows: Graham Festenstein, Leora Honeyman, Maggie Lambert, Neil Marsh, the team from Nulty+ working with Karen Van Creveld, Pedro Pinto, Paul Pyant and Eleni Shiarlis. The theme was: The darker side of Lewes Life, which investigated lesser known stories and historical events with sinister overtones, such as the story of the Lewes Rat - a tale of the body of a mummified rat that can be found in Ann of Cleves House. LewesLight’s setting has a sensitivity and intimacy that is lost on many other festivals and as a design led event it is keen to retain this. Spectacle, big installations and big crowds are not in its DNA like in big art commission based events. The festival still has a strong educational focus, not only in terms of promoting the town’s history and the environmental impact of lighting, but also in terms of lighting and urban design, the technical and engineering aspects of lighting and the creative aspects of design, art and photography. To this end it partners with the local Sussex Downs College where the
festival is embedded in the Production Arts Course and features in Art and Design and Digital Arts courses, and also with the Lewes Youth Theatre. ‘‘We also work with local schools and community groups and hope to generate a collaboration with Brighton University for this year,’’ commented Graham Festenstein, Festival Director and Independent Lighting Designer. Expanding on the academic theme, the festival held a successful day-long conference discussing ideas around lighting in urban design and festivals, aimed at industry professionals and others with an interest in lighting. ‘‘We hope that LewesLight continues to grow, it still operates on a tiny budget and relies on time and effort provided by its organisers and supporters with a small contribution from the Town Council. In the long term we hope to generate sponsorship from local business, but in the current financial climate we have an uncertain future, however this will not be stopping us from pressing ahead with plans for October 2017,’’ concluded Festenstein. www.leweslight.uk
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We Are Hull by Zsolt Balogh. Pic: Patrick Mateer
105+dB by Invisible Flock. Pic: Chris Pepper
Arrivals and Departures by imitating the dog. Pic: James Mulkeen
We Are Hull by Zsolt Balogh. Pic: Patrick Mateer
MADE IN HULL In 2013 it was announced that Hull would become ‘City of Culture 2017’, the second city in the UK to be awarded City of Culture status. Hull UK City of Culture 2017 was set up by the city's council as an independent company and charitable trust. Internationally-renowned lighting designer Durham Marenghi was brought in to his hometown to enhance a number of stunning audiovisual installations across Hull as part of the city’s UK City of Culture 2017 inauguration festivities. Marenghi, who has previously designed lighting for outdoor events such as the London NYE countdown, the Diamond Jubilee Concert at Buckingham Palace and the Rio 2016 Olympic Ceremonies, was assisted in the project by West-end theatre lighting designer and Hull resident Tim Lutkin. Together they specified over 60 Claypaky fixtures, 22 RGB wall washers from UKLED and 64 SGM P-5 washes from Manchester-based lighting specialist DBN lighting to create architectural light shows
at the city's historic Queen Victoria square, famous aquarium The Deep - as well as an installation in an underpass famous for secret raves. “It was crucial for us to keep the open air platform in mind when selecting fixtures; an outdoor environment is always a challenge for the technical aspects of a production,’’ said Marenghi. ‘‘I selected the Claypaky products because they're lightweight very power efficient and compact, making them easy to rig and weatherproof in these difficult environments; the UKLED and SGM fixtures are IP65 so ideal for Hull in Winter.’’ At Victoria Square, Marenghi and Lutkin employed 34 Claypaky Mythos to complement video content by animator and video designer Zsolt Balogh, which was projected onto the façades of Hull City Hall, Ferens Art Gallery and the Maritime Museum. Titled Made in Hull, the film worked with dynamic aerial lighting displays to immerse onlookers in 100 years of the city’s maritime and aviation industry. The
design also had LED strip lights, supplied by UK LED in Hull, radiating from the Maritime Museum and City Hall screens during a sequence celebrating Hull Fair, which reached it’s 700th anniversary in 1993. The searchlight effect of the powerful Mythos also allowed Marenghi to add extra impact to an audiovisual display at The Deep, the UK's landmark centre for marine research, and cast beam effects over the Humber estuary. An animation about the origins and travel of Hull's people by video and projection design house Imitating the Dog was projected onto the building’s striking contemporary architecture, which resembles a shipwreck. Hull City of Culture will now oversee the 365 days of pledged transformative cultural activity throughout the city in 2017 and judging by the success of the first Made in Hull event the forthcoming events will be a great showcase for the City and its culture. www.hull2017.co.uk www.durhamld.com
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HOW TO HIRE Reiko Chikada, Michael Gehring and Birgit Walter discuss strategies for conducting an interview that tells you something valuable about bringing a candidate onboard.
Bringing a promising candidate, recent graduate, or even a talented intern into your lighting design practice is a big decision. By the time you get to interviewing candidates, you probably have a good idea of the role you want that person to serve in your organisation. But when you bring someone in for an interview, your time is limited and the pressure is on – so how do you come up with a strategy to make that interview work? To help you answer that question for your firm, IALD interviewed three lighting principals or practice leaders – Reiko Chikada, IALD, from Tokyo, Japan; Michael Gehring, IALD, from El Segundo, CA, USA; and Birgit Walter, IALD, from Barcelona, Spain. Below, we share some of their strategies for conducting an interview that really tells you something valuable about bringing a candidate onboard. EVALUATING THE PORTFOLIO/RESUME Even once you’ve narrowed down the resumes and selected your favorites, you can learn a lot from the portfolios and samples people send in – even before they’re in the conference room or coffee shop for your interview. “We have different expectations for portfolios at different career stages,” says Gehring of KGM Architectural Lighting. “For younger people, we look for demonstrable skills that will help them hit the ground
running.” Walter, from BMLD, clarifies what those skills might be: “In someone early in their career, we do look for skills that allows them to do the work such as presentation skills, understanding of space, software capabilities, and language and team skills.” What about people with more experience? As Gehring says: “We look for results.” “For a more advanced candidate, we look closely at their work and design approach,” says Walter. And they’re looking for leaders – in more than just lighting design. “I want to see if they have the capability to lead and work with teams, their life goals within their future, activities outside work.” At any stage of career, Chikada of Reiko Chikada Lighting Design says she likes to see candidates that have excelled in the field – and made an effort to show it. “I check the [candidate’s] record of winning awards,” she says, “as well as their experience as a speaker at conferences.” BRINGING IN THE CANDIDATE “This is an emotional life decision for both sides,” says Gehring, who describes the “dance” when he firsts mentions the possibility of bringing on a new designer. “Many of our staff worked as architects or interior designers before they committed their careers to lighting design. We tell them how and why we did it, what the differences are, why lighting is better for
us, and ask them how they feel about it. We want them and we want them to want us.” None of the designers we talked to favoured phone or web interviews unless necessary. “Only initial ones that are long distance,” Walter says. “If the candidate is interesting to us and to them, we arrange for a face to face interview if possible.” YOUR INTERVIEW TEAM Who’s going to conduct the interview? If you have the time available to devote to interviewing candidates yourself, it’s worth the effort. “We tried having managers interview people, but now the partners do it,” Gehring says. “We’re looking for future partners who will be thought leaders, the faces of our firm, and rain-makers.” If you’re in a smaller firm, of course, you might already be doing the interviewing yourself. But it might still be worth it to get a second opinion. In Chikada’s firm, two staff interview a candidate at the same time. “Candidates may be nervous at oneon-one interviews,” Chikada says. “Group interviews are more relaxing and can make candidates more comfortable.” Walter agrees that two perspectives can be useful: “It’s good to have multiple points of view afterwards, and [it makes] the interview a more dynamic one, where you can see the adaptation skills of the candidate.” But if you find one-on-one conversations
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Reiko Chikada IALD, from Tokyo, Japan.
Michael Gehring, IALD, from El Segundo, CA, USA.
valuable, don’t deny yourself the opportunity. “Depending on the situation, we might do one to one in the first round and then conduct a second interview with another person within the company,” Walter adds.
examples – is the best way to get – and keep – them talking. “I want to know what candidates enjoy doing at work, what they do outside work, if they like to travel,” Walter says, describing how she gets candidates to open up. “We expose the type of work they do and start asking them questions to see if they might feel comfortable with the pressure of the job, coordinating with our team, and the high amount of travel in our job.” You can use the interview to learn about a candidate’s ability to think on their feet – or to get them to try out certain skills. “In our case,” Walter says, “We switch quite often to English once they have said their level is good.” “We are looking for the only thing that we can’t teach,” Gehring says. “That’s the qualities of confidence, humility, passion, honesty, credibility, and the ability to generate and maintain work for the firm over time.”
WHAT DO YOU ASK – AND HOW? Chikada likes to open by inviting the candidate to start on a high point: “I often begin interviews with questions about his/ her recent work,” she says. “I also want to know what motivated candidates to pursue a career as a lighting designer.” Gehring likes to keep it more loose. “I like to have an old fashioned two-way conversation,” he says. He doesn’t favour setting a structure for interviews or generating outlines of interview questions. “It’s much more complex than someone sending their resume to our website, and following with a standard interview.” Walter also favours a more Socratic approach to interviewing. “We improvise a lot,” she says. But just the phrasing of her questions, she finds, changes the kind of answer she might get. “We always like to hear candidates explaining, so we don’t usually ask yes or no questions.” If you have a good rapport with a candidate, it can be tempting to say a lot, but you learn more when your candidate is the one speaking. Asking candidates to describe situations, share strategy, or provide
AFTER THE INTERVIEW Once the candidates have gone home, Gehring is waiting to hear from them. “Following up with us shows us a lot about their polish and responsiveness. The method and timing of their post-interview communication is very telling.” All three of the designers we interviewed mentioned calling references, reviewing letters of recommendation, or following up
Birgit Walter, IALD, from Barcelona, Spain
to get additional background information as needed. “We also give the candidates personal feedback,” says Chikada, “telling them their favourable impressions on us.” But you can’t leave candidates waiting forever. In most cultures it’s du rigeur to personally let candidates know of your decision, whether or not it involved bringing them on board. Delegating this task can be very helpful – and it’s generally acceptable to let people know they were not selected via email, although at certain times following up with a phone call can be appropriate, especially if the candidate went through several rounds of interviews. After all, as Gehring says, “We’re happy that they are considering us as the place to spend their career.” There’s a number of resources available to learn more about hiring and human resources. The Society for Human Resource Management – www.shrm.org – is a great place for entrepreneurs to begin seeking materials and education for successful management of your human resources. You can also save the dates for the next IALD Enlighten conference, where the professional tools track provides you with resources for managing your practice. www.iald.org
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With LED lighting and controls now responding to retailer’s needs, the lighting industry looks to be fully entwined with this sector. Dr Geoff Archenhold outlines the latest trends in the world of retail lighting, providing a glimpse of its potential future.
LIGHTING IN RETAIL: WHERE TO NEXT? Figure 1: Luxeon CoB FreshFocus Technology for various grocery applications
Figure 2: Illuminating bread and pastries using the FreshFocus CoB LEDs
LED lighting and controls are responding to retailer’s needs. The LED industry is now fully entwined with the retail sector providing high quality lighting and innovative controls however the digital lighting revolution is creating new marketing opportunities through VLC and BLE. The retail lighting market has always been dynamic even prior to the adoption of LED technologies. But retail fashion is moving faster than ever with competition amongst retailers rife, driving the need for innovative LED lighting solutions that can draw customers into the retail outlet, create a good first impression, guide customers through the store, focus attention on specialty products, make prices and instructions visible and easy to read, appeal to the target consumers, make merchandise easy to evaluate, assist in making purchase decisions and provide a pleasant and efficient experience to consumers.
The latest trends in the world of retail lighting provide a glimpse of the future of how lighting and control technologies may influence the retail experience. LED POWER SPECTRAL DENSITY IS IMPORTANT FOR RETAIL APPLICATIONS The spectral quality of the LED lighting has a significant impact on attracting, retaining and ultimately enabling a customer sale. In recent years the LED production technology has matured and today LED manufacturers are able to offer specific spectral densities for retail applications. Lumileds Lumileds introduced its FreshFocus Technology dedicated to illuminate red meat, marbled meat and fish, bread and pastries with light spectrums that show a range of food items in a highly appetising way. The FreshFocus Technology is part of the LUXEON Stylist Series, Lumileds transformative line of LEDs designed to
provide the perfect lighting environment for fashion retail, fresh food and restaurants. Grocery items are notoriously difficult to light as product colour is a key consumer decision making process to purchase any goods and I certainly know if meat looks brown or if vegetables such as tomatoes look dull I’ll skip purchasing them. The FreshFocus Technology has been designed by accentuating the natural colours of fish and meat items by identifying the ultimate colour point to bring out the characteristics of various foods. For instance, LEDs with a cool daylight tone of 6,500K on the black body curve best accentuate the natural colours in fresh fish. For red beef, a below blackbody colour point at an ultra-warm, 2,200K colour temperature makes the reds appear rich and vibrant. Marbled meats appear best when lit with LEDs at a below blackbody 3,500K colour temperature. With below blackbody colour points, a higher colour gamut enables more fully saturated colour depiction.
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Table 1: Three new Sharp Mini Zenegata colour tuneable LEDs
Interestingly, Lumileds state improved lighting has been shown to increase sales and provide a return on investment in about a year because the lighting helps reduce unsold or expired meat that would have typically been thrown away. The FreshFocus Technology for red meat and fish are available in LUXEON CoB 1208 and 1211 arrays, which produce 2,000 and 2,800 lumens when driven at 900 mA and 1,200 mA, respectively. In addition, linear luminaires such as T5 or T8 equivalent lamps can be created by the LUXEON 3014 LED. For bread and pastries fresh food applications, Lumileds provides the LUXEON CoBs at a CCT of 2,700K, the LUXEON CoB 1208 and 1211 arrays achieve >100 lm/W efficacy and produce 3,464 and 4,750 lumens when driven at 900 and 1,200 mA, respectively. Nichia Nichia offer a range of LED emitters specifically designed for retail applications including Meat (M2), Produce (M3) and White Fabrics (M7). Nichia, known for inventing white LEDs, was originally the leader in Phosphor technology and has combined its position in both to enable high quality emission spectra. The M2 emission spectra provides a high quality of light specifically on red wavelengths and adjusting the white spectrum colour coordinates to prevent a “yellow” white appearance that can make meat look less vibrant and appealing.
The M3 LED emitter emphasises the primary Red, Green and Blue parts of the emission spectrum to achieve the highest quality of colour under general illumination and is ideal for colour applications such as illuminating fruits, vegetables, flowers and produce. The M7 LED emitters emphasise the white by adjusting the colour and spectrum to produce vivid whites without the need to use near UV like others achieving the effect using a novel phosphor mix only. Luminus Luminus, through its generation 3 CoB LED arrays, demonstrated a leadership in terms of efficacy for demanding retail spot lighting applications by delivering 150 lumens per watt at junction temperatures of 85°C. The range comes in various package sizes covering lumen packages from 1,000 lumens to over 20,000 lumens in CCTs ranges from 2,700K to 6,500K and CRI’s of 80 or 90 min. One key area of focus was to ensure tight colour binning of 3-SDCM or less along with AccuWhite high CRI products for multi-colour merchandise and Sensus that creates a purer white light making white objects look cleaner and jewellery sparkle. Sharp Sharp has developed the Natural Toning ZENIGATA COB LEDs, which warm the CCT as they are dimmed without the need for complex LED driver technology. Natural Toning technology automatically tunes the
colour temperature from 3,000K down to as low as 1,900K as the LED is dimmed. This mimics the behaviour of conventional incandescent sources, which is desirable for instance in hospitality and retail applications. Natural Toning LEDs from Sharp provide outstanding colour quality, with typical CRIs ranging between 92 and 94 across the dimming range. Warm white and cool white blocks are combined within a single light emitting surface, ensuring uniform colour distribution without the complexity of RGBarray solutions. The spectral fidelity and colour gamut of Natural Toning COBs results in a near perfect reproduction of halogen lamp behaviour. Intelligent Controls The use of intelligent controls is going to be a huge trend in retail lighting for many reasons including responding to consumer pressure to reduce a brands impact on the environment, whether it’s through the reduction of waste, the use of renewables or a more intelligent approach to lighting stores. With intelligent lighting systems and controls, it is possible to divide a store into zones and only use the light that is needed in any particular area at a specific time. If no people are in the vicinity, the environment can be dimmed to save energy. These systems also allow retailers to track energy usage across a store and adjust brightness depending on the amount of daylight available.
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Figure 3 - Casambi retrofit Tobias Grau flagship store in Frankfurt
The real time nature of the retail environment is now a part of daily life and the use of intelligent tracking systems will allow the retailer to understand consumer behaviours better and predict their shopping habits more accurately enabling improved customer engagement. The so-called ‘Internet of Things’ connects up mobile devices with passive Bluetooth Low Energy (BLE) beacons in the shop, allowing the retailer to guide consumers around the store and send targeted messages and promotions. Individualised prices are also become a possibility through the analysis of shoppers’ previous purchases and the developments of insights over what they may choose to buy in the future. Data is now intrinsically bound up with lighting. Real-time information can be sent directly to the customer via indoor positioning systems and the LED light network. Useful for communicating product details, discounts and maps, this data is also helpful for staff in terms of managing stock and tracking the impact of changes across the store. Lextar Lextar offers a smart location-based service utilising Bluetooth beacon sensors within LED fixtures to create a wireless network that connects to mobile devices. The three main advantages of such a system include: • Route guidance • Messaging provision • User behaviour analysis The smart LBS system is especially suitable for use in large indoor space such as
exhibition venues, shopping malls, museums and airports. Casambi Casambi offers a smart control system which uses a Mesh network topology based on Bluetooth low energy. Casambi have also introduced iBeacon technologies within their modules to enable their partners to introduce fully integrated location based services within their fixtures. Luminaires with integrated Casambi hardware communicate directly with a handheld device, so there are no wires, and no need to connect to Wi-Fi or install any network hardware. Nor do you need a specialist to install and commission the system – it’s designed to be as simple as possible. Retailers can save their most commonly used lighting configurations as preset scenes, making it easy to adjust lighting for the whole store. Casambi’s technology allows the retailer to incorporate smart occupancy sensors into light fittings and harvesting valuable data about how shoppers behave. For example, movement and location sensors can create ‘heat maps’ of a store, revealing which areas get the most footfall and when. This data can help retailers better understand how their customers behave, turning the lighting system into an insight tool that can help drive sales. Casambi has recently helped German luminaire maker Tobias Grau deal with a rapidly changing array of products at its flagship store in Frankfurt with a system that controls over 100 light points, either
individually or in groups. Acuity Brands Acuity brands have been the leader in indoor positioning systems using BLE and Visual Light Communication (VLC) since its acquisition several years ago of start-up Bytelight. Acuity is known to have supplied 100 Target stores in the US with an indoor positioning system using LED lights that can provide in-store location information to guests using the Android version of the Target app with select Android phones. Philips Lighting Philips have also undertaken proof of concept indoor positioning and marketing solutions for retail applications with their location of a VLC enabled 8,000 square metre Carrefour location in Lille. Philips claims that its system can pinpoint a product’s location inside a store to within 10 to 30 centimetres. Its benefits will include reducing the need for staff to guide people, improving conversion rates on promotions, boosting cross selling and engendering customer loyalty.
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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RESTORATION DONE RIGHT Bringing out the very best in the historic building, Philips Lighting's modern LED lighting system has transformed Romania's Palace of Culture into a visually striking experience that makes full use of the art of illumination, while maintaining considerable energy efficiency.
Located in Iaşi, Romania, the Palace of Culture, built between 1906 – 1925, used to serve as a Palace of Justice and Administration but now holds the ‘Moldavia’ National Museum Complex that comprises four museums. These are: the Museum of Moldavian History, Museum of Art, the Ethnographic Museum of Moldavia and the ‘Stefan Procopiu’ Museum of Science and Technology. The building, known as the most spectacular example of Neogothic architecture in Romania, underwent a massive restoration that took over seven years, from December 2009 to April 2016, to complete and included the modernisation of the lighting system. Philips Lighting provided the new LED lighting system, which is anticipated to be
up to 75% more energy efficient compared to conventional lighting technologies. “The Palace of Culture is a true symbol of the beauty and history of Moldavia. We experienced first-hand how innovative lighting technology seamlessly integrated with the modern materials that we used for the restoration, bringing out the very best in this historic building,” said Dr. Lăcrămioara Stratulat, Manager of the ‘Moldavia’ National Museum Complex. Bogdan Balaci, General Manager South East Europe, Philips Lighting added: “We see the Palace of Culture as an outstanding example of a building transformed into a visually pleasing experience that makes full use of the art of illumination.” The new Philips LED lighting system now highlights the building’s architectural
features such as the 55-metre (180 feet) high clock tower and façade with 92 windows, creating a unique identity for the community and increasing the attractiveness of the area as a tourist and business destination. ‘‘The Palace of Culture has undergone the most extensive restoration work since its inauguration in 1926, and we are pleased that since its grand reopening in April 2016, it has welcomed over 300,000 visitors. A new light shines on this cultural building that plays such a key role in the city,’’ concluded Viorica Frunză, Manager Impex Romcatel SA, General Designer of the rehabilitation and restoration of the Palace of Culture of Iaşi. www.lighting.philips.com
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WORKING WITH COLOUR Framed by playful white fabric discs, Glamox luminaires have provided the newly refurbished second floor of the Jaarbeurs MeetUp in Utrecht, Netherlands with a fresh illumination to accompany the interior’s bright colour scheme.
Combining ergonomics know-how, modern technology and a touch of drama, the newly refurbished second floor of the Jaarbeurs MeetUp in Utrecht, Netherlands is an office/conference space that is anything but plain. In the generous sized hallway visitors are met with the bold colour palette of bright green, deep orange, pink and yellow balanced with enough white to keep it light and elegant. The ceiling is clad with a dark sound absorbing fabric while white discs that almost seem to be floating in the air, gives the D70 luminaries from Glamox a playful frame. The discs continue through to a big, flexible office area where one can rent cubicles, office landscape space or a conference table. “The discs create a contrast between the square sectioning of the floor and give the space motion. They also reflect the light and absorb sound,” explained Interior Architect Leendert Spreij. The dramatic touch is not a coincidence, in addition to working with offices and public buildings, Spreij also draws on his experience from designing theatres. “The architecture here is a balance
between the proven and the visionary,” he added. With a particular attention to details, Spreij and the project team has created a well utilised office area that feels airy and spacious. Colourful padded cubicle panels ensure the privacy and calmness needed to work at the same time adding an eyecatching structure to the room. Trace task lamps from Glamox adorn the desks in the landscape sections. “Everything is integrated into the walls,” Spreij explained. The light management system is also integrated in the form of a tablet where an app can be used to achieve the exact lighting required. This feature can also be found in the meeting rooms, where the lighting serves a unique role. The D70 luminaries come with tunable white technology that allows the user to mimic everything from bright daylight to a warm yellow afternoon glow. This type of lighting can be used to stimulate the internal body clock, but here it also serves as a mood changer. From the tablet on the wall, users can set the scene with options like “Motivation” which will give a reddish light,
while “Teambuilding” will give an organge glow and “Sharing knowledge” will turn the room blue. The second floor of the Jaarbeurs MeetUp reopened in early September 2016. The 2,600sq-meters were fully renovated in just eight weeks. “Time was the biggest challenge of this project,” said Planning Engineer Herman van Rooyen. His colleague for the last 36 years, Project Manager Jaap de Oude, agreed: “We’re very happy with the result. It has a lot to do with the combination of the people working on the project, they’ve ensured a smooth process,” he adds referring to the installation company Building Services Amersfoort and to Glamox who supplied most of the lighting for the project. Meanwhile there is plenty of work to be done in the Jaarbeurs MeetUp building. In the near future, the sixth floor will be fully renovated. Glamox and Building Services Amersfoort will be part of this project as well. www.glamox.com
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SCENIC SUGGESTION Providing a cutting-edge lighting solution and customisation support, Linea Light’s products have illuminated the IFI Group - Architectural Lighting Works’ new Athens headquarters with harmonious internal and external placement.
Studio of lighting design and architecture IFI Group - Architectural Lighting Works has identified in the Linea Light Group products the ideal solutions to illuminate its new headquarters in Chalandri, a Greek town in the metropolitan area of Athens. With a long tradition dating back to 1989, created on the personal initiative of Freiderikos Anagnostakis, the IFI Group Architectural Lighting Works studio plans small, medium and large lighting projects, according to a pool of professional figures, such as architects, lighting designers and engineers. The new building, completed in 2016, is a single, compact and hermetic volume; inside, the well-defined rooms are connected to each other, characterised by spaces containing flat surfaces, shelves and geometrical forms. From the Design Area to the Showroom, from the Prototyping Zone to the Meeting Room, light becomes a determining factor to highlight full and empty spaces, volumes and materials. The enlightenment becomes an integral part of the project, from the starting concept to its application as a constitutive element of the structure, not only as a simple functional accessory, highlighting the importance of the lighting studio according to the entire architectural complex. Thanks to Linea Light Group’s solutions, which have found harmonious internal and external placement, the aim has been achieved, fully satisfying the needs of the client. An immediate scenic suggestion at the entrance of the Showroom is created by Fylo+ and Gypsum from Linea Light’s Architectural Lighting collection. The essential graphic style of the first product is connected to the elegance of
the second one, a minimalist solution with a recessed ceiling chalk frame that disappears in the built space. The Lobby is enriched by very thin lines of light of Lafina from the Professional LED Lighting collection, whose luminous cuts delineate the cement desk, simplifying the material impact. The solution adopted for the shelves is very particular: to illuminate the products on display some Ribbon Basic 5W/m LED strips have been installed, which combine functionality and aesthetics in a fascinating light and shade effect, involving all the structure. The successful mix of architecture and enlightenment works also in the small Meeting Room, where an essential and rigorous sequence of Pool, aligned with the ceiling, spreads a comfortable and soft light. Characterised by modularity, Linea Light’s Paseo profiles create a continuous line in the wall and the ceiling with no visible interruptions. Versatile, Paseo solutions make greatlooking effects: a narrow beam for a wall grazing result or an opaque body for a diffused light. For the outdoor flowerbed the choice fell on Clivo products, powerLED source spotlights with reduced size and high flexibility: the light emission is characterised by a minimum of 8° to a maximum of 50°, thanks to the adjustable tilting bracket structure and the excellent peculiarities of the light beam. In conclusion, the lighting at IFI Group’s Athens HQ is proof of Linea Light’s ability to provide, in addition to cutting-edge solutions, a quality service in terms of customisation and technical support. www.linealight.com
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Pics: Yasunori Shimomura
A PLACE OF REFUGE Offering a welcoming and relaxing atmosphere, Luci’s flexible luminaires have been integrated into CAFE Osaka Chakai’s traditional Japanese interior to create a place for the city’s inhabitants to escape the hustle and bustle of everyday life.
Situated north of Tenjin Bridge in Osaka, Japan, CAFE Osaka Chakai opened in August 2016 in the Tenjinabashisuji Shopping Street. Tenjin Bridge, located near Hachikenyahama on the Okawa River, is an area that was lined with the storehouses of the Daimyo during the Edo period 400 years ago. At this time, Osaka was called the “Water Capital”, and as the centre of commerce in Japan, it was also known as “kitchen of the nation”. On the east side of CAFE Osaka Chakai is the historic Osaka Tenmangu Shrine and the Hanjotei Comic Theatre, providing visitors with a traditional Japanese atmosphere. Situated amidst Japan’s longest shopping district, the interior design of CAFÉ Osaka Chakai has been based on the concept: “a retreat in the heart of the city”. It is hoped that the café is not only a place for filling visitors’ stomachs but also a relaxing space away from home, providing an escape from the outside world. As the phrase suggests, a retreat in the heart of the city refers to a place of refuge.
It is an expression coined from the spirit of a traditional Japanese tea ceremony, which was an art mastered by Sen no Rikyu. Since then, this idea has became an important motif for a space where people can take time away from the hustle and bustle of the city and the rigors of everyday life. Today, it is widely adopted as a design concept for gardens and commercial spaces in the city. In relation to this, the interior designers at infix design.inc have put together a scheme that celebrates this concept. Specifically, the interior wall incorporates Japanese style and materials of Japanese craft, including traditional paper, gold and silver leaf art, lacquered brass and Japanese black bamboo to create a comfortable, chic and relaxing environment. In achieving this concept, an essential element was not only interior materials but also the colour temperature and hue of the lighting. Luci tapped into this by offering its original low colour temperature flexible light, with
a choice of five colour temperatures from 1,900K to 3,000K. Luci’s 2,400K LED fixtures have been used to highlight the realistic and natural characteristics of Japanese materials and to create the lighting effects found when light is emitted through the Shoji screen. Luci’s Power FLEX 20mm pitch has been installed underneath the café’s focal counter, which was finished in mortar to highlight the traditional ‘‘machiya’’ - style floor of traditional wooden Japanese townhouses. It helps to enhance the feeling of depth and attract guests to the cafe. Amongst the atmosphere created by infix design.inc’s interior design and Luci’s lighting products, the visitors can enjoy their favourite drink in their choice of cup. This can be selected from the shelves, which display over 100 varieties, including mugs, matchawan (traditional tea bowls) and free-style cups made by artists from western Japan. www.luci.co.jp
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Pics: Courtesy of liniLED - The ADMARES Burj Al Arab Terrace Development
HEIGHT OF LUXURY Supplying over 1.4km of various LED strips, liniLED has brought Dubai’s vast Burj Al Arab Hotel Terrace to life with a variety of luminous intensities.
Set in the azure waters of the Arabian Gulf, the Burj Al Arab Terrace is a stunning 10,000m2 luxury terrace that accommodates the first-class facilities of the seven star Jumeirah Burj Al Arab Hotel. The terrace includes the luxurious Scape Restaurant & Bar, 32 private cabanas (butler serviced), 400 sun loungers and a beach. To complete the design, the terrace also incorporates a 612m2 freshwater pool and an 828m2 saltwater infinity pool that melts into the horizon to create the mirage of a continuous ebb of water into the Arabian Gulf. The terrace is the result of a creative marine design and ingenious engineering. Before being shipped in sections to Dubai
for the final assembly and installation, most of the design and construction of the terrace was completed in Finland. Finnish developer and construction specialist ADMARES was commissioned to deliver the turn-key project. ADMARES CEO Mikael Hedberg said: ‘‘We’re immensely proud of this project. It gave us the opportunity to create a unique structure that could be installed in its final location with very little disruption to hotel guests and marine life and in a remarkably short time frame. It’s an impressive feat of engineering: the offsite fabrication in Finland and subsequent installation in Dubai makes it the biggestever undertaking of its kind in the world.’’ To execute its initial concept, ADMARES
collaborated with Finnish liniLED partner, Oy Hedtec Ab. They supplied approximately 1.4km of various liniLED LED strips in three luminous intensities (Deco, Power and High Power). The liniLED LED strips were installed indoor and outdoor of the Burj Al Arab Terrace with several liniLED Profiles and Power Supply Units. The new Burj Al Arab Terrace was successfully completed by ADMARES in just eleven months – with the majority of its construction completed in Finland and the assembly and outfitting being finished in only twelve weeks. The steel structure alone weighs approximately 3,000 tonnes – about half the weight of the Eiffel Tower. www.liniled.com
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A FOODIE’S DREAM Faced with an unusual l-shaped area, 3F Filippi has provided a technical and energy-efficient lighting solution that pays great attention to the Belgian Foodie Market’s products and customers.
Following its experience in other retail projects, 3F Filippi has illuminated the new organic and natural food supermarket of the Foodie's Market chain, at Waterloo, in the Bella Vita quarter, Belgium. To create this retail space, designers paid great attention to the energy consumptions, in order to keep the project coherent with the whole urban surround. One of the most considered aspects of the general design approach was energy saving, that is why the owner decided to rely on 3F Filippi's expertise. For this work the company managed all the light design steps and used two recently developed light fittings: the 3F Linux LED modular system and the 3F Emilio Track spotlight. In the first case, one chose the wide light beam version systems, suspended to 3.5-metres in height along all the corridors. For these surfaces of the Foodie's Market, a 4,000K colour temperature was chosen, providing visitors
with visual comfort while walking inside the shop. Designed by the belgian designers Serge and Robert Cornelissen, 3F Emilio is a spotlight created by the company to achieve a perfect thermal performance, with a strong balance between lumen emitted and the spot dimension, in order to achieve the same performances of those similar systems already available on the market. Basically conceived for the retail environments, the spot has a small size and its round shape makes it easy to clean. In the supermarket, suspended to 2.7 metres in height, this light fitting was used to highlight some specific product categories with different colour temperatures. To illuminate the wines and spirits corner, in fact, a 3,000K light was chosen, while for the fresh baked goods (bread and sweets) a warmer lighting (2,700K) was provided. A different colour
temperature choice was, on the contrary, the one for the meat sale area: in this case ‘meat’ type light sources were provided to highlight the cromatic features of this kind of displayed food. The lighting design for Foodie's Market was extremely challenging for 3F Filippi due to the peculiar division of the long, narrow l-shaped area, which required special attention to detail and ad hoc analysis of the lighting effects, more indepth than the one needed for traditional commercial spaces with rectangular plans. This attention to detail was particularly welcomed by the owner, who showed a great sensibility towards the element of light even during the very early stages of construction works and appreciated the technical solutions proposed by 3F Filippi in the projects three dimensional display. www.3f-filippi.com
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Pics: DWR
CONTINENTAL RETAIL Illuminating three major areas of the Mall of Africa in Gauteng, South Africa, Anolis’ LED lighting fixtures boast flexibility and reliability in lighting designer Deryl Jan’s scheme, which is crucial to the atmopshere in the vast retail experience.
Over 1,000 Anolis LED lighting fixtures now illuminate three areas of the Mall of Africa in Midrand, Gauteng, South Africa - the result of a collaboration between architectural lighting designer Deryl Jan of PPA Lightco., LED manufacturer Anolis and South African distributor DWR Distribution. Inspired by geographical elements of the African continent, and opened in 2016, the mall is the largest single-phase retail experience to be built in Africa to date, covering 550,000sq-metres with two main shopping levels connecting directly to Waterfall City Park. The Anolis fixtures include 900 x RGBW ArcLine Optic 36s, which light the roof above the entranceway and main ground floor level which were specified by Jan. The fixtures were supplied and installed by DWR Distribution, whose team was project managed by Keith Pugin. The three areas lit with Anolis are the roof, a selection of trees in the adjacent City Park and other aspects around the park including an underpass which is part of a new road constructed to enable vehicle access. Lead architect Tia Kanakakis from MDS gave Jan a brief of how she envisioned the lighting, inspired by ideas she collected from Las Vegas and other places where lighting is crucial to enhancing atmosphere. She also wanted lighting to be a central feature for the space, accentuating the curves and contours of the building. The roof is constructed out of 963 triangular ETFE inflatable cushions, 432 of which are clear and 531 opaque, covering a surface area of approximately 3954sq-metres. After considering several options, the
decision was made to illuminate only the opaque ETFE panels on all except the outer ring of cushions. The opaque finish took the light well and the effect added a depth and contrast to the honeycomb-like pattern they create. Jan has been using Anolis products for some years in his work. “The quality and the engineering are excellent and it’s definitely an LED light-source of choice,” he confirmed. “I was already confident of the quality and performance so I was keen to stay with the brand, also because they were helpful in making the bespoke adjustments necessary in this environment.” Jan and DWR looked at the best solutions for evenly illuminating the ETFE segments and then conducted an onsite demo with 21 of the Anolis ArcLine Optic 36s. The fixtures were then ordered, together with special brackets which were designed and fabricated by DWR to clip the fixtures on to the profile of the roof panels. The ArcLine Optic 36s in the roof are powered by 114 x ArcPower 384 Rack Mount drivers located in the ceiling area - and run via an MA Lighting grandMA2 replay unit. During one of Jan’s first presentations to the client, Atterbury, he showed views of the park trees - on the south side of the mall - coloured in blue, an idea that was adopted as part of the overall architectural lighting scheme. Again, for depth and adding a touch of non-uniformity, 70 of the Platanus Acerifolia - known as London Plane - deciduous trees are lit, for which Jan chose Anolis ArcSource 24 RGBW in-grounds. These are an adjustable module that can be tilted to maximise focus. They are RDMcontrollable, and can be repositioned as the
tree grows. They are a bright high-quality light source with a ‘watch glass’ style front fitted flush to the fixture to reduce the build-up of assorted debris, and run via a Nicolaudie stand-alone DMX controller with on-board astronomical clock that switches on and off according to daylight hours. The Underpass runs below the park and features a line of concrete central supporting columns. These are transformed from an engineering necessity into an elegant architectural feature by 22 x ArcSource 24MC integral lightsources. 40 ArcLine outdoor Optic 27 POBs (power on-board) are illuminating the nearby cycle track, attached to the soffits along the underpass and also in the garden area. Along the top of two bridges connecting the park to the mall are a series of ArcSource 1s lighting the general garden areas. Lighting the park and gardens creates an inviting ambience and draws this exterior space into the mall concept. Jan commented: “It was another awesome experience working with both Anolis and DWR. Anolis had the imagination and mindset to adapt and suit our exact needs which I think is quite exceptional and something I value highly.” John Saunders, International Sales Director, Anolis concluded: “The cooperation between Anolis, the team at DWR and Deryl at PPA Lightco has always been on a different level. Deryl’s exceptional designs combined with the most professional of teams at DWR ensured that Anolis was involved in another phenomenal project in South Africa.” www.anolis.eu
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FRESH AND FLEXIBLE Located in the Mall of Berlin, interior designer Michael Bertram has created a contemporary and bright concept for Youfresh’s new store, which uses ERCO lighting tools to accentuate the freshness aspect of the brand whilst remaining flexible to customer needs.
The Youfresh shop, opened by Margaretha and Jan Olszewski in the new Mall of Berlin at Leipziger Platz, Germany, is testimony that fast food can be fresh, healthy and tasty. The menu offers soups, salads, sandwiches – including vegan options – juices, smoothies and frozen yoghurts. Fresh pea green and white dominate the narrow food parlour that occupies no more than 90sq-metres. Designed to the original plans drawn by the interior design experts of the Ippolito Fleitz Group from Stuttgart and Berlin, the most prominent interior feature is a white Corian counter forming an elongated L-shape; its short section – decorated with fruit, herbs and an XXL sized frozen yoghurt display – extends into the mall to connect with passers-by. “The counter simulates progression into the depth of the room,” explained designer Michael Bertram of the Ippolito Fleitz Group. “From a functional aspect, it offers an impressive range of features and catering essentials, such as chiller trays, drink dispensers, salad containers and, of course, the cash point.” Built with versatility in mind, the designers were careful not to assign specific locations to any feature. “This approach gives the shop operators carte blanche to change decorations and create their own merchandising displays,” added Bertram. Thanks to the ERCO LED lighting tools, maximum flexibility extends all the way to the lighting concept. Built entirely around the Optec range, using the three light distribution options flood, oval flood and wallwash, the spotlights are mounted
on three parallel track sections under the suspended ceiling, achieving uniform ambient lighting throughout the shop, whilst selected objects are effectively accentuated. Optec wallwashers (12W in warm white) provide evenly distributed light on the vertical surfaces, giving the interior of just under four-metres a wider and distinctly spacious feel. The menu boards and price lists at the front of the shop are illuminated in bright light to ensure easy reading, whilst Optec wallwashers at the back bathe the wall in uniform light for an appetising presentation of the vast assortment of ingredients at the topping station. The wallwashers are complemented by Optec spotlights with flood and oval flood distributions that accentuate the elongated counter section. At the checkout, Optec with flood distribution achieves brilliant ambient lighting whilst preventing glare on the screen. For emphasis, the oversized plastic frozen yoghurt model near the entrance is illuminated by Optec with flood characteristic, aiming to whet the customers’ appetite for more. The ERCO Optec spotlights used for Youfresh are true all-rounders. In versions with different light distributions, Optec covers the full bandwidth of lighting requirements in the shop. Based on a meticulous design, the lighting concept aims to accentuate the freshness aspect of the Youfresh brand and its products whilst facilitating a flexible response to different presentation scenarios, preparation and sale. www.erco.com
Pics: © ERCO GmbH, www.erco.com, photography: Sebastian Mayer
Glass dichroic colour correction filters ideal for warming or cooling a light source.
Warming filters for LED lamps.
Honeycomb louvres available in custom shapes and sizes. Glass diffusion filters available in custom shapes and sizes.
LEE Filters offer a wide range of products to help control, colour and correct different light sources. Visit our website for further details.
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Pics: Courtesy of Prolicht
FUNCTIONALITY FIRST With its flexibly configurable and technically high-quality luminaires, Prolicht has provided the new Grünwald VITALIA store with a calm and attractive shopping experience.
Purity, functionality and wellbeing – these three basic principles of the life-reform movement are brought back into focus with VITALIA’s new Grünwald store. Atelier für Lichtgestaltung developed a new corporate lighting design and specially developed lighting systems from Prolicht are among those used in the newly designed shop, which opened September 2016. The new interior design of the VITALIA shops combines modern straight lines with organic shapes and natural materials. Coupled with a vintage touch, they have created an inviting and feel-good atmosphere, which stylistically represents a natural essence as the basis for all VITALIA products. The low-key design creates a visual sense of calm and allows the product to take centre stage. The shop concept creates an appealing atmosphere of modern authenticity and a clear identity. The lighting design provides a consistent continuation of the illumination concept and solves an apparent contradiction: despite the high density of goods and different groups of products in a small space, a calm and attractive impression is created. The materials and colour tones
used are consistently matched with the lighting. This makes it possible to create different lighting environments surrounded by balanced background illumination, in which feature lights, underlighting and narrow beam spots achieve differentiated and accented lighting. A power rail system integrates both the flexible Imagine trackspots and, as a unique solution, the new Wallwasher from Prolicht. “The wall-mounted racks of goods are very evenly illuminated, from the top of the stand-out wall panel to the floor, with a clear beam cut-off and good longitudinal glare control,” explained lighting planner Sabine Wiesend. “This means that the products presented are illuminated evenly, right down to the bottom shelf.” The Wallwashers are based on the Vertical Boost concept developed by Prolicht: five multi-faceted reflectors are mounted at different angles in one module. The precisely calibrated surface of each facet provides broad and clean illumination without multiple shadows. In contrast, the Imagine spots illuminate the centre of the room. “The key features of these spots are the excellent glare
control, the even illumination and their unobtrusive physical form,” added Wiesend. The five-way adjustable articulated arm and choice of beam angle – 25° in this case – make it possible to adjust them precisely. To highlight individual areas, the Prolicht Super Spot with a beam angle of a narrow 8° increases the light intensity exactly where it’s needed to emphasise the value of the goods. The versatility of Imagine is illustrated by the extra special solution developed by Prolicht and ORB. The feature light is positioned above a traditional reception desk and adds to the design in terms of material, mood and style. It also allows flexible and precise illumination close to the product, to subtly guide the eye. Prolicht created the individual design from a plate, three brass tubes and five Imagine spots. With flexibly configurable luminaires, technically high-quality lighting systems and the willingness to develop special solutions, Prolicht has provided an extraordinary lighting concept. www.prolicht.at
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David Morgan takes a look at the Isotera system, which is based on ‘Contactless Power’ technology removing the need for individual drivers thus making connecting LED fixtures as easy as clipping clothes pegs onto a clothes line.
CONTACTLESS FUTURE
An induction based LED lighting and power transmission system that simplifies the connection of electrical wiring to luminaires, increases system efficiency and extends the working life of LED luminaires is clearly good ‘news’. Surprisingly the underlying principal of induction is quite old and the technology is based on the work of the Hungarian electrical engineer Ottó Bláthy, who invented the transformer in c1885. In this way, distinctly old technology is transforming modern technology some 130 years after its invention. Isotera, the company that has introduced this system, was formed in 2010 by a team of engineers who were experts in highdensity, high-efficiency power conversion and high frequency power networks. Isotera is a spin-off from transformer company Tunewell, which has a history of making radio coils going back to the 1920’s. The core elements of the Isotera system are a very high frequency power supply; the iHub (operating at 50 KHz); a double insulated twisted pair cable, the iBus; and a power coupler, the iClip, that transfers
power via induction from the cables without any need to pierce the insulation. The iBus cable can be up to 250 metres in length without being effected by voltage drop although the available power drops by around 12 watts per 100 metres. As this is a constant current system, volt drop on long runs is not a problem as it would be with a constant voltage system. The iClip couplers can be attached and repositioned to the cable very quickly without needing skilled personnel giving the potential to reduce lighting installation costs and time significantly. Changes to wiring layouts and luminaires can be made much more easily than with traditional line voltage systems. In addition to the standard iClip couplers there is also an emergency version, iEscape, so that an emergency pack with batteries can be connected to the system. No mains supply is needed to the emergency pack as the power comes via the iBus cable. A selftest function is included as standard and potentially any luminaire can be converted to emergency use on the system.
The iClip contains circuitry that converts the high frequency AC into DC power and also a constant current driver to run LED luminaires directly. The drive current is factory set in a range from 200mA up to 2.1 amps with an accuracy better than 1%. A separate 1 – 10V dimming circuit plugs into the iClip with a standard dimming range down to 5%. The dimming can be controlled by any industry standard 1 – 10V dimming system. At the moment there are two sizes of iClip - 20 watt and 45 watt - with a maximum operating efficiency of 95% at around 75% of full load. The efficiency drops slightly to 92.5% at full load. It is understood that Isotera are developing a plug in converter for DALI and DMX dimming options that will enable the system to be used in a wider range of projects. The iHub power supply is available in 250 watt and 500 watt ratings so that a large number of individual luminaires can be run from a single power supply rather than needing one driver per luminaire thus reducing the cost. Up to 50% of failures in LED lighting installations are due to driver
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The system provides a very different approach to configuring and installing LED lighting when compared to conventional installations that are based on mains powered LED driver modules. With the iPower system the installation of LED fixtures is simple, fast and economical. The contactless power transfer from the iBus to the iClip eliminates cutting and stripping of wire or the use of modular wiring
issues. By separating the power supply from the driver circuit, the reliability increases significantly and Isotera offer a 10 year warranty and a 100,000 hour life expectancy. Isotera are claiming high levels of efficiency for their luminaire range of up to 165 lumens per system watt when used in conjunction with the Isotera power system. Other system components include an occupancy sensor that draws power from the iBus and a biased switch interface that generates a 1 â&#x20AC;&#x201C; 10V signal allowing manual dimming from a wide variety of standard switch plates. The system has a number of inbuilt safety features. If the iHub becomes disconnected from the iBus for any reason it will automatically shut down and if the luminaire is not connected to the iClip prior to attaching to the iBus that also will cause the system to shut down. Isotera initially partnered on an exclusive basis with one of the major international lighting companies with the aim of working with lighting specifiers on a project basis.
The company is however now working directly with end-users via wholesalers and focusing on the commercial, industrial and other functional lighting sectors with their own range of LED luminaires. The Isotera luminaire range includes downlights, festoon lights, recessed ceiling panels and retrofit light engines in various formats. These luminaires all incorporate the iClip, making installation very simple. Working with end users in the short term should help Isotera build market share along with awareness of the company and the benefits of induction lighting. In the medium to longer term it is understood that Isotera is aiming to work directly with luminaire manufacturers on a nonexclusive basis enabling a much wider range of lighting equipment to benefit from an induction system. The Isotera system is highly compatible with LED luminaires and offers a wide variety of useful benefits in terms of installation cost reduction, increase efficiency and longer life. Adoption by the conservative electrical
contracting industry seems to be taking longer than expected but the potential for cost and time saving should overcome this resistance in due course. Lighting manufacturers will also benefit from using the Isotera system with their luminaires, but although using a single source technology always poses issues of continuity this is unlikely to be a major issue. I am keen to explore the system in more detail with our own luminaires and lighting systems as it could be a good fit in many cases. www.isotera.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 83404009 Š David Morgan Associates 2017
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READY FOR RETAIL A selection of the latest in retail lighting products.
Azuma Hacel
Gimbal ERCO The new range of recessed spotlights with gimbal suspension offers a modern interpretation of a technical principle featuring digital ERCO photometrics. A comprehensive system of lighting tools in different sizes, covering a wide variety of wattages and light distributions, Gimbal is easy to adjust with pinpoint precision – an ideal tool for retail projects. Its unique design blends seamlessly with interiors and brand architecture reflecting sophisticated technology. www.erco.com
RUBY XP Griven Taking advantage of a high performing LED configuration, RUBY XP is a newly engineered, compact floodlight for exterior use, which houses a combination of 20 high power either RGBW, warm, natural, cold or dynamic white LEDs. This stylish and versatile fixture is ideal for spot lighting and wall grazing owing to the wide selection of optics groups available. Additional soft-edge diffusing filters for smooth gradient of light to wash façades evenly are also available. www.griven.com
The Azuma range combines a contemporary design and powerful performance with formidable form and functionality. Delivering impressive outputs up to 6010 lumens, the Azuma features state of the art Zhaga single point modules and outstanding colour rendering properties, optimal in retail and spotlighting applications. www.hacel.co.uk
V-LED 180 Luxonic Offering contemporary design in a discrete package, the V-LED 180 range is a suite of die-cast aluminium housed luminaires equipped with satin reflectors to softly illuminate even the most expansive area. Available in a circular or square bezel trim (V-LED 180C, V-LED 180S), each high-efficiency recessed downlighter balances superior luminance with modernity, complementing high end conceptual spaces. Providing up to 101 luminaire lm/W, the white gloss-finish V-LED 180 offers an elegant solution to efficiently enhance the lit space. www.luxonic.co.uk
Creek Linea Light Creek is a structure with no external frame that guarantees the installation of professional lighting technology solutions with utmost flexibility. The installation system makes it easy to insert the structure in any false ceiling in just a few simple steps and without using any tools. Creek is the ideal partner of all retailers who want to create an atmosphere in line with their own visual merchandising concept using an instrument that offers countless applications and discreetly blends in with the surrounding environment. www.linealight.com
TTX2.70 Mike Stoane Lighting As used extensively by DPA for Chalhoub Kid’s Zone (Dubai’s City Walk); Mike Stoane Lighting’s TTX2.70(1,100lm) and TTX2.111(3,000lm) offer a wide range of outputs, beam angles, secondary accessories and dimming options (inc BLE). Combined with Xicato’s extensive colour point options this culminates in a very versatile tool for gallery and highend retail applications. www.mikestoanelighting.com
MAGIQ PLUS WALLWASH Prolicht The new MAGIQ PLUS WALLWASH creates a masterful impression as it illuminates wall spaces evenly. It features Prolicht’s VERTICAL BOOST concept - one module can illuminate walls up to 4.5 x 1.8-metres. Also, Prolicht’s BDLS (Bi-Directional Lighting Solution) provides flexibility, allowing the choice of illuminated direction at any time. Simply release the luminaire from the driver housing, turn it around 180° and plug it back in. The product can also be tilted +/- 15°and the module clicks into place for adjustment. www.prolicht.at
iTrack Pro Rayconn iTrack Pro is a versatile lighting tool for architects and designers. One product in three extensive designs, high efficient optics (92%+) with honey comb and barn-door accessories provide outstanding performance and maximised visual comfort. Up to 4,000lm output and a 12° narrow beam, makes the family an ideal choice for projects that require accent and high quality lighting. An interchangeable optical system with twist-lock fixing design makes it easily replaceable in between the whole iTrack Pro family and other luminaires in Rayconn’s catalogue. www.rayconn.net
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POINT FLUVIA POINT is a high precision accent and surface luminaire that highlighst just what is needed, with a smart design that ensures a perfect integration. It also provides orientability 360º, control over glare, and luminous intensity regulation. POINT luminaire features a laser that perfectly guides the direction of light. Suitable for visual merchandising, art exhibitions, restaurants and hotels. www.fluvia.com
System | 107 Vode Incredibly adaptable, System | 107 is a large selection of rails (lenses) and mounting options, allowing it to meet the requirements of any interior application. It can be a stand-alone luminaire or a continuous line of light with unlimited length. Vode’s hardware allows for mounting to most surfaces - wall, ceiling, workstation, shelving, table, cabinetry. www.vode.com
Perfect White LED Megaman
KOH System KKDC
Suited for retail, Perfect White LED produces a light that excites fluorescent whitening agents in textiles, making objects appear whiter and brighter, while maintaining the warm white 2,800K colour temperature for the surrounding shop floor. The technology modifies the spectrum in the near visible range to make the object stand out from the background. It has been developed to meet retailers’ requirements for high quality light sources on goods, especially fabrics, delivering lighting that makes fabrics ‘whiter than white’ but at the same time renders the true colours of other hues. www.megaman.cc
KOH System is a new series of professional, linear housings using interchangeable, high performance LED modules (Switched/1-10V/DALI) and configurable as short lengths or continuous linear systems. KOH 40 - with a 40mm luminous aperture - is available recessed, surface-mounted or suspended for direct/indirect lighting and provides a versatile, plug & play general downlighting solution for office and retail applications. The choice of cover options, fully homogenous, Prismatic and Dark Light Louvres ensures optimum performance can be specified. www.kkdc.lighting
PANOS Infinity Family Zumtobel
CRANS High Power Track Light COB Swiss LED
The PANOS infinity family has four new variants: a choice of round and square designs, frameless or with a mounting frame, with diameters of 68mm, 100mm and now also with a diameter or edge length of 200mm. These ‘building blocks’ invite architects, lighting designers and electric planners to devise optimal task-specific lighting solutions for every room. The new additions introduce the possibility of warm dimming and an excellent colour rendering index of CRI> 90, along with colour temperatures of 2,700K, 3,000K and 4,000K. www.zumtobel.com
With an innovative photometric, CRANS High Power Track Light COB is ideal for lighting requirements in shops, galleries, museums, high-contrast accent lighting and floodlighting of exhibits. Using CITIZEN COB LED, >85lm/W, the product is available in CRI 90+ and 80+. With 50W high power, a compact design and superior thermal management, CRANS is mounted in 3 Circuit Track and has a lifespan in excess of 50,000 hours. www.swiss-led.com
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3F Emilio 3F Filippi Small and handy, 3F Emilio is a new spotlight for indoor environments. Conceived by belgian designers Serge and Robert Cornelissen, it is the ideal choice to illuminate retail areas and offices, thanks to its strong thermal performance and high visual comfort. It includes a compact LED module of CCT nominal colour temperatures 2,700K, 3,000K or 4,000K, with a colour rendering index of CRI >80 or >90. Also, it offers compact LED modules / MEAT (version for meats), / BREAD (version for bakery) and / CRISP (version for wardrobe with white enhancement). www.3f-filippi.com
Beauty Series Xicato Xicato Beauty Series puts people in the spotlight. Developed in collaboration with lighting designers and leading cosmetology professionals and backed by independent research, Xicato Beauty Series is engineered to deliver high fidelity that improves foundation colour matching at cosmetics counters. Beauty Series carries Xicato’s warranty on both lumen and colour maintenance. It is available in Xicato’s XTM LED module with 19mm light emitting surface, in 1,300 and 2,000 lumen options. www.xicato.com
Sapphire Retail and Food CLS The Sapphire is a fixture ideally suited to replace 35, 50 and 70W CDMT track mounted fixtures in retail and food environments. It features special LED modules for optimal colour rendering of clothing, furniture, kitchens, jewelry, shoes, bread, meat, fish, vegetables and fruit. The LED modules boast a high CRI and are available in extra warm white (2,700K), warm white (3,000K) and neutral white (4,000K). It also features an easily interchangeable reflector: Spot, Medium flood, Wide flood and extra wide flood, and beam angles of 18º, 30º, 54º and 90º. With a light output LED module up to 4,000 lumen, the fixture housing is available in grey, white or black. www.cls-led.com
Oktalight IN.EVO Trilux MOTO-POLARIS Forma Lighting
ArcSource 140 COB Anolis
Designed by Franco Mirenzi, POLARIS linear downlight, offers precision oriented, advanced lighting technology. The track mounted, motorised remotecontrolled version MOTO-POLARIS’ pan and tilt, of up to 200° horizontal and 350° vertical axis rotation, are adjusted via hand-held remote to laser select the fixture, re-orient and dim the light. Reflecting LED energy-saving, CRI 95 luminance onto its diamond angled facets, MOTO-POLARIS is ideal for retail, galleries, museums and hospitality applications, offering visual comfort in architecture boasting high ceilings. www.formalighting.com
ArcSource 140 COB is a high performance downlighter designed to deliver high performance from a traditional downlighter footprint. A custom optical system, combining both a concave reflector and highly efficient collimator, is combined with the latest 140W COB technology, which allows the luminaire to deliver an output level in excess of 8,000 lmss at 6,000K. Also available in a 2,700K version, it offers the ideal solution when high light output is required in architectural, retail and leisure applications. As with all Anolis products, a five year warranty applies. www.anolis.eu
The IN.EVO track spotlight brings good aesthetics into any store. The spherical luminaire head has a floating appearance, and whether it is used for accent lighting or window illumination, its compact design provides complete power and flexibility – the light colour, reflectors and mounting type are variable. Conveniently controlled by a light management system such as LiveLink, the IN.EVO is optionally available with a Zigbee module to enable control commands to be transmitted via radio signal. www.trilux.com
3F Emilio
The accent light, in its best shape. Come and discover it at: Hall 10 / A20
3F Emilio is the new LED spotlight with a refined and simple design. Its high efficency makes it the ideal solution to enhance any kind of product displayed, even in the large sales areas. Available versions: - 3F Emilio Track, to be installed on three-phase track - 3F Emilio Linux, to be integrated with 3F Linux modular system - 3F Emilio Surface, for ceiling or wall installations 3F Emilio Track
Its innovative opticts â&#x20AC;&#x153;3F Lensâ&#x20AC;? are available in two versions: a round concentrated spot to enhance the products and an elliptical one to create light corridors or to light up billboards uniformly. Available LED sources: - 2700K Warm white - 3000K White - 4000K Neutral white - Meat (specific source for meat and cold cuts) - Bread (specific source for fresh products such as fruits, vegetables and bread) - Crisp (specific source for textiles and white enhancement)
3F Emilio Linux
3F Emilio: the accent light, in its best shape.
www.3F-Filippi.com
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HARD AT WORK A selection of the architectural lighting products on show at architect@work in London.
Genius Buzzi + Buzzi
Target Platek Designed by Architect Marco Acerbis and, Target is a harmonious blend between user friendly and aesthetic smartness: a complement of versatile lighting, sculptural and flexible, a solution for architectural lighting projects that emphasizes shapes, volumes and colours. It may seem fixed, but it is not. A mechanical articulation between the two main components forming the floodlight allows the freedom of movement on the three axis without any interference between them, thereby giving a powerful beam of light in any position. www.platek.eu
Genius is a totally disappearing recessed luminaire in AirCoral®, installable on plasterboard ceilings, is able to emit an incredible light intensity for just a 20mm emission hole, so tiny that it disappears when the product is turned off. www.buzzi-buzzi.it
Slim System is a Josep Lluscà design for Fluvia. It is a suspended system of general flexible lighting. It is very flexible thanks to its versatile accessories that adapt to the installation, allowing vertical growth, 330° swiveling, a light output greater than 80lm/W (complete system) and glare control. www.fluvia.com
Dice TAL
Snake LEDWORKS Snake is a modular LED lighting system featuring custom lighting by arbitrary segments of arcs and angles allowing the specifier to create different lighting concepts and custom shapes (curves, circles, etc.). Available as ceiling mounted or pendant fixture with direct/ indirect distribution, Snake is housed in black RAL9006 (other colour on request). Standard not dimmable or DALI/ SwitchDim, incl. converter. www.led-works.eu
Slim System Fluvia
Eggboard Artemide Sound-absorbing suspension light, Eggboard consists of two active faces that have been carefully designed by Giovanni Giacobone and Massimo Roj, for maximum acoustic and luminous efficiency. When positioned approximately one metre above head height, the sinusoidal or “egg-cartonlike” surface of the lower board absorbs sound whilst the direct emission board - containing low-voltage LEDs adjusted with roto-symmetrical reflectors ensures maximum lighting comfort. www.artemide.com
Dice is TAL’s newest addition to its Think Small collection, a lighting range consisting of lighting fixtures that are modest in size but grand in performance. Dice is a compact, easily installed ceiling-mounted luminaire. In spite of its compact size, Dice is even available with an integrated converter. The block-shaped luminaire is simply clicked onto a small mounting plate attached to the ceiling, leaving no screws in sight. Dice is a clever and compact luminaire with a geometric design, a genuine eyecatcher in every interior www.tal.be
A65-P LED Scan to read more about A65-P LED
Extraordinary Shapes Please refer to our website for information about our 5-year warranty.
www.glamoxluxo.co.uk
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INDUSTRY ADDITIONS A selection of the latest lighting products.
DIN 1024 DMX Interface Chromateq DIN 1024, USB to DMX stand alone interface, can now control two DMX universes (input or output). This allows the hardware to work like a splitter mode or receive, in stand alone, a DMX trigger from another DMX device. With the latest firmware, some new RS232 commands complete the trigger capacities. It can also receive fifteen external dry contacts to trigger scenes in memory, be controlled by an infrared remote control or use its internal real time clock for time and calendar scene schedules. www.chromateq.com
FL100 GVA FL100’s monochromatic version is capable of an ultra-narrow 4.5° beam angle and 9,200 lumen output. The RGBW-IM offers colour mixing within a single optic, suited for close wall washing and grazing applications, colour-matched to STR9 RGBW linear luminaire. It also uses GVA’s COLOR-AMP technology making its lumen output comparable to that of monochromatic fixtures. The RGBW-OM version uses a traditional approach with a single colour LED per optic and colour mixing outside of the lens for greater light output and tighter beam. www.gva.lighting
Power FLEX EX Series Luci Power FLEX EX 30mm pitch is available in three different lumens and wattages; 9.5W (700lm), 6.6W (500lm) and 4.6W (300lm). Adhering to 3-steps SDCM with 120° beam angle, this high-powered strip offers not only colour consistency, but also ecological sustainability and cost-effectiveness. An ideal solution for green projects. www.luci.co.jp
Tila S Family Heper Tila S uses Heper’s Milestone LED module, a surface reflector technology designed to be used for/in different types of road classifications by increasing the number of modules. With the special coating used on the reflector, it supplies higher reflectivity with maximum performance. Milestone has a glare control system, using light indirectly with the multifaceted reflector. Tila S, with one, two and three Milestone LED modules, has a lumen package from 3,400lm 12,000lm, and is ideal for roads and landscapes with 3000K, 4000K options. www.heper.eu
instaLight NoLimit 4033 Insta NoLimit 4033 is based on six profiles and defined light inserts offering great variety. The profiles are designed so the light source is indented, flush or visibly protruding. The generated light is diffuse, direct or glare suppressed and directed by an instalight reflector. It provides a unique matrix for the manifold LED components of the Insta LEDLUX series and supports the latest technologies, for example with Tunable White or dynamic RGB technology. www.insta.de
Cana 80 Kreon Cana 80 is a recessed profile made of anodised aluminium for use in plastered surfaces. Endless combinations of directional LED light modules, Holon and Prologe, can be placed in the channel. These black or white light modules come in a wide variety of colour temperatures & CRI ratings. Additionally, different reflectors, lenses and dimming protocols are available to meet the needs of each individual project. The combination of light modules is made to measure and is delivered pre-assembled. www.kreon.com
Are you looking for a new challenge? We are recruiting for the following:
Assistant Lighting Designer/ Lighting Designer • We are looking for a candidate with a strong design background who is keen to learn and works well in a team. • Has experience in the use of AutoCAD/Sketch-up/Adobe Photoshop and may also have experience in the use of DIAlux/Relux. • The position will involve supporting our Head of Design in our new design studio, in the heart of Manchester. • We will support you with on the job training with eventually your progression onto leading your own design projects. • You will be working on a range of exciting projects from across all building sectors, both internal schemes and exterior spaces. If you’re interested, please contact fayef@enigmalighting.com with your CV and we will be in contact to arrange an interview.
The BEGA Group is an internationally respected, privately owned manufacturer of high quality outdoor and indoor luminaires. Its enviable product portfolio suits for lighting projects worldwide.
London/Home Counties Regional Business Manager Reporting to: UK Managing Director Description: London centric focused and experienced business lighting manager with excellent reputation within the professional specification market The position calls for a motivated, driven, sensitive and diplomatic business minded individual who thinks outside the box and can work as part of a small highly trained team. The position although part of a team will call for a great deal of self-resilience and personal drive to “get the job done”, but always with the highest quality of service in mind. Income and benefits package to include: • Basic income + Performance Related Bonus Key Qualifications: • At least 10 years of direct lighting experience within architectural lighting marketplace • Detailed knowledge of outdoor and indoor lighting requirements and standards • Personal reputation and history of excellence in the market • Must be able to prove existing market relationships within the professional specifiers including the following: Architects, Lighting Consultants, M & E and Landscape Designers • Report writing, presentation skills, IT skills • Training in Germany to be provided • Must be able to present a unique knowledge of London and Home County Region For a more detailed job description please either email or directly contact: Michael Wilson – UK Managing Director to discuss the positions descriptions further as follows. Please no agencies, only interested parties. Mobile 07973 734 356, Office 01306 882 098, Email michael.wilson@bega.com Please email your application letter and cv to hr@bega.com
ADVERTISERS INDEX 3F-filippi................................................... 169
Hacel......................................................... 8-9
MBN........................................................... 12
Acclaim....................................................... 13
Heper Group.............................................. 35
Mike Stoane................................................ 93 Molto Luce................................................. 81
Anolis......................................................... 4-5
IALD.......................................................... 147
Applelec..................................................... 69
Illumination Physics.................................... 29
Neonlite.................................................... 123
Bega.................................................. 6-7, 174
ISTL........................................................... 157
Nicolaudie.................................................. 17
Brightgoods................................................ 61
Khatod...................................................... 145
OLEDWorks.............................................. 151 OM Light.................................................... 31
Chromateq............................................... 165
KKDC.......................................................... 85
Clay Paky.................................................. 133
Kreon.......................................................... 87
Precision lighting...................................... 109
CLS............................................................. 14
L&L Luce&Light.......................................... 75
Prolicht...................................................... 111
darc awards........................................... 10-11
Lamp Lighting............................................ 41
Rayconn.................................................... 155
darc room................................................... 63
LEC Lyon................................................... 117
Remote Controlled Lighting....................... 73
David Morgan Associates......................... 157
LED Linear................................................ 180
Rising Dragon Technology....................... 153
Dial........................................................... 173
LED Luks..................................................... 39
StrongLED.................................................. 16
Enigma............................................... 25, 174
Ledia......................................................... 155
Swiss LED................................................... 23
Euchips..................................................... 173
Ledil............................................................ 79
Targetti................................................... 2, 57
Fluvia........................................................ 101
Lee Filters ................................................ 159
Tokyo Lighting Fair................................... 175
Forma........................................................... 3
Lightfair International............................... 138
Triolight.................................................... 149 Unilamp...................................................... 15
Fuhua Electronic ...................................... 167
Lightgraphix............................................. 115
Glamox Luxo............................................ 171
Linea Light Group....................................... 21
Vode........................................................... 47
Griven......................................................... 19
Lucent....................................................... 105
Wibre.......................................................... 99
Grupo MCI............................................... 151
Luci........................................................... 179
Wila............................................................ 49
Guangzhou Int’l Lighting Exhibition......... 161
Luminus.................................................... 141
Xicato......................................................... 37
GVA.......................................................... 143
Luxonic..................................................... 131
Zumtobel.................................................... 55
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
Light Middle East 17-19 October Dubai, UAE www.lightme.net
Hong Kong Int’l Lighting Fair 27-30 October Hong Kong, China www.hktdc.com/fair/hklightingfairae-en
PLDC 1-4 November Paris, France www.pld-c.com
Interlight Moscow 7-10 November Moscow, Russia
InterLumi 29 June - 1 July Panama City, Panama www.inter-lumi.com
BIEL 13-16 September Buenos Aires, Argentina www.biel.com.ar
darc awards / architectural 14 September London, UK www.darcawards.com
darc room 21-23 September London, UK www.darcroom.com
IstanbulLight 21-24 September Istanbul, Turkey www.istanbullight.com
Lightfair International 7-11 May Philadelphia, USA www.lightfair.com
LED Expo Thailand 11-13 May Bangkok, Thailand www.ledexpothailand.com
INALIGHT 17-19 May Jakarta, Indonesia www.inalight-exhibition.net
darc awards / decorative 18 May London, UK www.darcawards.com/decorative
SPARC FMA 30 May - 1 June Sydney, Australia www.sparcfmaevent.org
Euroshop 5-9 March Dusseldorf, Germany www.euroshop-tradefair.com
Lighting Fair 7-10 March Tokyo, Japan www.messe.nikkei.co.jp/en/lf/
Light 22 - 24 March Warsaw, Poland www.lightfair.pl
LEDucation 28-29 March New York, USA www.leducation.org
Euroluce 4-9 April Milan, Italy www.fieramilano.it
W WW. D A RC W A R DS. C O M
CELEBRATING THE BEST IN LIGHTING DESIGN
www.interlight-moscow.ru.messefrankfurt.com
IALD Enlighten Americas 12-14 October Denver, USA www.iald.org
www.guangzhou-international-lighting-exhibition. hk.messefrankfurt.com
www.expogr.com/lightexpo
LED Symposium + Expo 26-28 September Bregenz, Austria www.led-professional-symposium.com
Guangzhou Int’l Lighting Exhibition 9-12 June Guangzhou, China
LightExpo Africa 20-22 April Nairobi, Kenya
Expo Lighting America 28 February - 2 March Mexico City, Mexico www.expolightingamerica.com
178
INSPIRATIONS / #41 STEENSEN VARMING
Bringing a little piece of Australia to this issue of mondo*arc and a little piece of Australia to the London lighting scene, Steensen Varming has recently opened a new office in the UK and also agreed to be the subject of the Inspirations page. They have picked a tiny detail of one of their projects, the iconic Sydney Opera House to illustrate how light inspires them. What a projectâ&#x20AC;Śwhat a canvasâ&#x20AC;Ś
CURATED BY
Azumaen Location: JAPAN Architect office: GOSiZE Co.,Ltd. Construction: Tanigawa Construction Campany Co.,Ltd. Photo: GOSiZE Co.,Ltd.
Welcome to Japan. Luci, Led lighting manufacturer born in Japan since 2004, providing service throughout Asia and Middle East.
Booth No.
JS4409 7-10.March.2017 We are taking part in JAPAN SHOP 2017. We will present you the opportunity to see the product installation methods and characteristics all in one place. We look forward to seeing you all there!
in
TOKYO
Luci SHOW ROOM
Luci Co.,Ltd. Tokyo Japan Regional HQ Akasaka Bldg. 3F, 4-13-13, Akasaka, Minato-ku, Tokyo 107-0052, Japan Tel: +81-3-6327-7409
Singapore / Hong Kong / Dubai Tokyo / Osaka Shanghai / Beijing info@luci.co.jp http://www.luci.co.jp/
In the lobby of 301 Howard Street, San Francisco, the aquatic metaphor finds resonance in all aspects of the design, from light and materiality to the furniture selection. Scalloped layers of sanded plaster provide a dramatic backdrop at the ceiling plane, further emphasized by lines of light. Here the VarioLEDâ&#x201E;˘ Flex HYDRA LD15 W835 with an opal cover was used. | Architect: Huntsman Architectural Group | Lighting design: Birkenstock Lighting Design, San Rafael | Photo: David Wakely Photography | www.led-linear.com