mondo*arc Aug/Sep 2014 - Issue 80

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

#80 2014

THE RIPPLE EFFECT YANN KERSALÉ'S SEA MIRROR WOWS IN SYDNEY VENICE ARCHITECTURE BIENNALE • CHARLES STONE INTERVIEWED MAY DESIGN SERIES & LIGHTFAIR INTERNATIONAL ROUND-UPS

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CONTENTS

[aug/sep] Front cover pic: Sea Mirror, One Central Park, Sydney by Simon Wood Photography.

042 Interview We talk to Charles Stone, president of New York lighting design practice Fisher Marantz Stone.

Pic courtesy of WILA

DETAILS 022 Editorial Comment No frivolous freebies from this publication!

024 Postcard Courtesy of Factorylux and Light Collective.

026 Headlines The latest industry news.

028 Eye Opener Serpentine Gallery Pavilion, London by Smiljan Radić with lighting by LED Linear.

030 Drawing Board Proposed projects in Macau, Seoul and London.

034 Spotlight A selection of brand new projects from the UK, Sweden, Lebanon and Poland.

038 Snapshot An introduction to the work of Singapore lighting design firm Light Collab.

040 Lighting Talk An illuminating chat with Turkish architect Melkan Tabanlioglu.

154 Inspirations Light Collective introduces the many inspirations behind Michael Grubb Studio.

ART & DESIGN

TECHNOLOGY

092 Installation Claude Lévêque’s neon streak.

096 Exhibition Flynn Talbot’s Primary objective.

098 Exhibition The Venice Architecture Biennale.

102 Essay Thomas Wensma on product aesthetics.

104 Dark Source Stories Kerem Asfuroglu’s dark vision of light.

092

Pic: Fabrice Seixas

106 Case Studies A selection of manufacturers’ projects from around the world.

118 May Design Series, London A selection of products on show at the commercial design event at the ExCeL Centre as well as Designers With Light Forum and Lighting Design Family Tree party.

126 Bench Test Following its preview at Light+Building and May Design Series, David Morgan takes a closer look at Xicato’s new XIM module.

128 Lightfair International, Las Vegas A selection of the best products from the leading US show.

139 IALD Lighting Design Awards Fourth time lucky for Speirs + Major as Keith Bradshaw takes the trophy in Las Vegas.

146 Guangzhou Int’l Lighting Expo A round up of what the Chinese had to offer.

148 New Product The latest product launches.

152 Event Calendar Your global show and conference guide.

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CONTENTS

[aug/sep] Pic: © Yann Kersalé, AIK

Online See Yann Kersale’s amazing Sea Mirror in Sydney on www.mondoarc.com

PROJECTS

PROJECTS

PROJECTS

050 One Central Park, Sydney Jean Nouvel and Yann Kersalé team up again to produce a spectacular feature in this commercial development.

066 Perot Museum of Nature & Science, Dallas Morphosis Architects and the Office for Visual Interaction create a design masterpiece.

080 Rue Robert des Flers, Paris Roger Narboni’s Concepto Studio creates a lighting scheme with LEC Lyon based on biological rhythms.

058 Trinity Hall, Cambridge A new scheme by Hoare Lea Lighting faithfully restores the historic Dining Hall at Cambridge University.

074 Ripley’s Aquarium, Toronto A first-of-its-kind lighting design by Mulvey & Banani with fish tanks lit entirely with LED creating theatre and conservation.

086 Science Museum, London Studio ZNA creates schemes for permanent exhibition Bicycle Tour and temporary exhibit Collider.

058

Pic: Redshift Photography

066

Pic: Iwan Baan

086

Pic: Duncan Lawson

I’m a lighting designer.

I make the invisible visible.

And give rooms their own soul.

Light is everywhere and everywhere is light.

That’s why I travel everywhere to look at light.

Each place has its own magic.

A magic that is forever different.

Forever new.

This I take with me.

The different and the new.

This is how my light should be.

I’m a lighting designer.

I make the invisible visible.

And give rooms their own soul.

Inspiration is found wherever you look for it.

Find your lighting solution at www.erco.com/inspirations

ERCO, the Light Factory.

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DETAILS

[editorial] Paul James, editor, writes: Like buses, mondo*arc has never offered free gifts for our readers and then two come along at once! Both come courtesy of collaborations with our friends at Light Collective and both are inserted into the pages of this edition. Now this isn’t a Smash Hits-style attempt at giving away some flouncy trinket in order to gain favour with our readers. Both have artistic and professional merit.

The first is an A1 poster of the newly updated UK Lighting Design Family Tree graphic (only available to UK subscribers). Meticulously created by Sharon Stammers and Martin Lupton of Light Collective for the Designers With Light Forum at May Design Series, it is an important piece of research (and one that took an awful long time). Kindly sponsored by Xicato, the event was a huge success (which, in no small part, was due to the excellent range of Scottish brews supplied by Mike Stoane Lighting) with over 100 lighting designers attending the presentation by Sharon and Martin and the subsequent beer imbibing party. The graphic reveals an incredible 142 lighting design practices (including divisions of other architects/engineering firms) operating in the UK with 254 lighting designers taking part. The number of practices we have recorded has virtually doubled since 2011, the first time our Family Tree was attempted, and is a real barometer as to the health of the lighting design profession.

The second offering, courtesy of our pals at Factorylux, is the beginning of a series of natural light in architecture limited edition postcards that will be inserted in each issue of mondo*arc and darc magazines for the next twelve months (you lucky people!). Specially chosen

by Light Collective from the Corbis archive, the series will reveal a range of images where natural light is vital to making these iconic architectural spaces work, but with a coloured twist! See page 24 for the reasoning behind their first choice, the Guggenheim Museum.

I feel immensely pleased and privileged that we are involved in these two projects that highlight just how important lighting and the profession of lighting design is. Watch out for more innovations in the months to come.

Pete Brewis, deputy editor, writes: To paraphrase WH Davies: what good is life if you don’t allow the occasional hour to slip away whilst lost in some new wonder? If you’re anything like me, I suspect two features in this August/ September issue will prove particularly difficult to resist pausing and poring over. The first of these honeytraps is of course the UK Lighting Designer Family Tree. If God is in the detail, then Light Collective could well be the unheralded prophets of the lighting industry. Like many prophets, their message may not at first be entirely clear - What do all the colours mean? Where do the lines start and end? (Answer: don’t worry about it.) But it is undoubtedly a thing of beauty. And, as Paul explains above, our lucky UK readers will have the chance to hang it within eye-shot and decipher its geometric knots at their leisure. If some deeper truths do emerge, please get in touch and share the wealth!

As the ‘tree’ ably demonstrates, the lighting design profession is a wonderfully interconnected web and any opportunity to bring together some familiar, friendly faces is always a cause for celebration. One of those dropping by for the Family Tree’s unveiling at the Designers With Light Forum was Michael Grubb, whose studio has put together the last page ‘Inspirations’ artwork for this issue. A homage to both Blake and the wider lighting industry, it’s another flash of creative fun that’ll steal way too many minutes from your day. And why not! Make a brew.

Dig out the Blu-tack. Stand and stare.

Editorial

Subscriptions

Editor Paul James (p.james@mondiale.co.uk)

Amy Wright (a.wright@mondiale.co.uk)

Deputy Editor Pete Brewis (p.brewis@mondiale.co.uk)

David Bell (d.bell@mondiale.co.uk)

Editorial Assistant Rob Leeming (r.leeming@mondiale.co.uk)

Production Dan Seaton (d.seaton@mondiale.co.uk) Mel Robinson (m.robinson@mondiale.co.uk)

Advertising

Chairman

Advertising Manager Jason Pennington (j.pennington@mondiale.co.uk)

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DETAILS

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

We start with...

#1 Solomon R. Guggenheim Museum, New York

© Corbis

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

After years and years of asking other designers to name their favourite buildings or tell us what inspires them, Light Collective finally have a turn themselves.

Factorylux has given us the opportunity to pick a series of images that are being made into beautiful prints that (it just gets better and better) will be given away... to you!

At Light Collective, we’re into technology, the Internet of Things, new ideas... but we also love finding space to incorporate all things old school. Luckily for us, so are Factorylux, a lighting brand that we have watched grow from nothing to a lot in a short amount of time. Luckier still, they’ve got a sister brand Prelogram - who do top quality printing - hence the unusually handsome magazine insert.

Factorylux asked us to curate a series of postcards only available within the pages of mondo*arc and darc for the next twelve months ((#MondoCards in case you wanna pick up the conversation online).

The pressure to choose a series of amazing images was quite intense - we wanted them to be personal picks, inspired by light and something that everyone would appreciate and admire. We also had the whole of the Corbis archive to choose from and sometimes the more choice you have the harder it is to decide... After much debate we agreed that our theme would be natural light in architecture and we set about finding the images we wanted.

There is a phenomenal amount of great photography of inspiring architecture in the archive but we wanted to select spaces that we had actually been inside and experienced first hand. We wanted to choose spaces that had blown us away with their manipulation of natural light and for the postcards to represent their iconic (to lovers of light) status!

Our first choice is an upward shot that shows the spiralling ramps and glass skylight of the Solomon R. Guggenheim Museum in Manhattan, designed by Frank Lloyd Wright. First commissioned in 1943, it was completed in 1959 after both Wright and Guggenhiem had died. Wright was never happy with the choice of New York and insisted it was as close to Central Park as possible so it could be as close to nature as possible in the city.

Matthew Drutt, former curator of the Guggenheim, said of the design: “Nature not only provided the museum with a respite from New York’s distractions but also leant it inspiration. His inverted ziggurat (a stepped or winding pyramidal temple of Babylonian origin) dispensed with the conventional approach to museum design, which led visitors through a series of interconnected rooms and forced them to retrace their steps when exiting. Instead, Wright whisked people to the top of the building via elevator, and led them downward at a leisurely pace on the gentle slope of a continuous ramp. The galleries were divided like the membranes in citrus fruit, with self-contained yet interdependent sections.

The open rotunda afforded viewers the unique possibility of seeing several bays of work on different levels simultaneously. The spiral design recalled a nautilus shell, with continuous spaces flowing freely one into another.”

The greatest architects of the world understand the power of natural light and use it to stunning effect. We wanted this postcard series to celebrate that and can’t say it better than one of the acclaimed masters of natural light, Louis Kahn: “Architecture appears for the first time when the sunlight hits a wall. The sunlight did not know what it was before it hit a wall.” www.urbancottageindustries.com/factorylux www.lightcollective.net

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DETAILS

news headlines New Head of International Sales for Clay Paky

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

mondo*arc and darc join L-RO (UK) - Lighting-Related Organizations, part of United Nations’ International Year of Light and Light-based Technologies 2015, to co-ordinate program of activities.

(Italy) - Alberico D’Amato takes on new role for Italian lighting manufacturer.

Read the full story online...

1

Read the full story online...

Lumenpulse acquires Projection Lighting (Canada) - £16.6 million deal marks major acceleration of Lumenpulse’s expansion into new markets.

Read the full story online...

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Luxonic invests in luminaire production (UK) - British manufacturer completes £¾ million investment programme to expand its production facilities to cope with LED demand.

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Speirs + Major wins fourth IALD Radiance Award

Read the full story online...

Light Bureau opens Oslo office

(USA) - In Lumine Tuo in Utrecht, the Netherlands, takes top prize at 2014 IALD Lighting Design Awards.

(Norway) - UK lighting design practice expands with new Oslo office.

Read the full story online...

Read the full story online...

Patricia Glasow Executive Vice President at Auerbach Glasow French (USA) - New positions at Auerbach + Associates reflect firm’s growth and future development.

Read the full story online...

In pictures

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the latest news online

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scan QR code to link to

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1 Pio Nahum, Sales and Marketing Director (left) with Alberico D’Amato. 2 Deal will enable Lumenpulse to break into the retail and display lighting markets. 3 L-RO has issued a

Call for Ideas for events to frame the general concept of the IYL2015. 4 First award for UK practice since 2010. 5 The expansion means Luxonic is better able to deal with the increase in demand for LED luminaires. 6 Arve Olson (left) and Paul Traynor of Light Bureau. 7 Steven Friedlander, ASTC, MIES; S. Leonard Auerbach, FASTC, IALD, MIES and Patricia Glasow, IALD, MIES, LC.

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DETAILS

eye opener Serpentine Gallery Pavilion, London, UK Smiljan Radić, the Chilean architect, is the fourteenth person to accept the Serpentine’s commission to create an artwork for the gallery’s home in Kensington Gardens. Radić was inspired, in part, to create a Pavillion that summoned up the mystery of Victorian park follies, the monolithic quality of Stone Age icons and the whimsical romance of Oscar Wilde’s ‘The Castle of the Selfish Giant’. The design also takes its cues from the architect’s own Restaurant Mestizo. A modernist establishment in look and fare, the building in Santiago’s Las Américas Park sits propped upon boulders.

Radić’s Pavilion is a social space, the open interior designed to host film screenings and a cafe. It is a space where visitors can interact with the structure, a quality reflective of Radić’s portfolio as a whole.

The structure is floodlit from the outside and the semi-transparency of the shell, together with a soft amber-tinted light, draws the attention of passers-by from across Hyde Park to the conversation and ideas to be found within the structure.

LED Linear, as a sponsor of the event, and distributor Architectural FX, worked together to provide LED light for inside the Pavilion. On the ceiling VarioLED Flex PHOBOS winds its way round the monolith’s rafters, emitting a warm light colour of 3000 Kelvin, effectively lighting accents on the ceiling structure, while remaining discreet, allowing the mystifying nature of this enigmatic domicile to shine through unthreatened. www.serpentinegalleries.org www.led-linear.com

Pic: Iwan Baan

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Pics: John Offenbach

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DETAILS

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

DREAMSCAPE With 40 floors and a gross floor area of 150,000 square metres, the fifth hotel tower at City of Dreams in Macau (developed and owned by Melco Crown Entertainment) will house approximately 780 guestrooms, suites and sky villas as well as guest facilities including gaming, restaurants, spa and sky pool.

The design by Zaha Hadid Architects combines dramatic public spaces and generous guest rooms with innovative engineering and formal cohesion. The rectangular outline of the site is extruded as a monolithic block with a series of voids

which carve through the centre of the tower, merging traditional architectural elements of roof, wall and ceiling to create a sculptural form that defines many of the hotel’s internal public spaces.

The tower’s exposed exoskeleton reinforces the dynamism of the design. Expressive and powerful, this external structure optimises the interior layouts and envelops the building, further defining its formal composition and establishing relationships with the new Cotai strip.

The lighting scheme by Isometrix will be seamlessly integrated with Hadid’s iconic

textural architecture. Revealing its textural façade and flowing through the entrance into the interior envelope of the dramatic entrance and lobby atrium, animation will be used to reflect the dynamism of the spaces and their complex forms. The lit effect will be a sophisticated statement piece, responsive to the materials, structures and visual impact of this iconic building.

The project is expected to open in early 2017. www.zaha-hadid.com www.ldpinternational.com

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SEOUL SURVIVOR UNStudio’s design has been selected as the winning entry in the competition for the remodelling of the Hanwha headquarters building in Seoul. Located on the Cheonggyecheon creek in Seoul, the 57,696sqm headquarter building was seen to no longer reflect Hanwha as one of the leading environmental technology providers in the world. For the competition to remodel the tower UNStudio teamed with Arup (sustainability and facade consultant) and Loos van Vliet (landscape designer).

Following the selection of the competition design, a•g Licht joined as lighting

consultant for the interior, landscape and façade lighting.

The concept for the animated facade lighting responds to the media activities on Hanbit Avenue. The facade is animated by individual LED pixels, with the lighting reflecting different parts of the building and highlighting areas of activity within.

The pixelated lighting references nature, data processing and energy forms and is designed to form part of the overall Hanwha branding strategy with its position as one of the world’s leading environmental technology providers.

In response to the request that the design be guided by the surroundings, influenced by nature and driven by the environment, UNStudio developed an integrated responsive facade concept which improves the indoor climate of the existing building and reacts to both the programme distribution and the location. www.unstudio.com www.aglicht.de

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DETAILS

[drawing board]

HIT FOR EAST 17 In a £3 million scheme, The Mall Walthamstow, a ‘70s shopping mall in North-east London, is undergoing a severe facelift. The interior scheme, by Silver and Co and architects ESA, features a huge metal ribbon running through the mall interior, celebrating the work of one of Walthamstow’s most famous sons, William Morris.

Elektra Lighting Design is introducing lighting to accentuate the new architecture with vertical lines of light between each shop unit and in-built illuminated signs. The ribbon is the focal point. In the daytime, cool colour white lighting shines down through the ribbon, creating patterns on the floor and giving a natural feel to the space.

In the evening, warm white lighting uplights the ribbon giving a visual block and creating a more intimate space. The vertical lines between shops change colour temperature in harmony with this effect. Added accent is given by theatrical spots creating hard circles of light on the floor.

Gods Own Junkyard, a local company specialising in vintage neon, are making two large custom pieces of art for the centre. www.silv.co.uk www.esa-ltd.com www.elektralighting.co.uk

LIBRARY OF LIGHT Coffey Architects have won the competition to design the new Science Museum Research Centre with lighting design by Studio ZNA. The new centre – planned to open by 2015 – will provide the Museum with a new kind of facility and enable a new level of integration between exhibitions and research.

The new project will occupy the ground and first floors of the museum’s Wellcome Wolfson Building and is defined by two simple elements: the bookcase and the canopy.

The bookcases create a warm and welcoming landscape for research. The canopy filters light and controls acoustics, creating a serene environment.

The main focus of the library is the central reading room from which all activity is orientated. A small stair provides a direct connection to the bright upper mezzanine with common room and staff areas while below the mezzanine, a timber-lined research bar and private study areas are located amongst the main bookstacks. The entire room is bathed with dappled light from thousands of small oculi set within the double height translucent canopy above.

The project is expected to start on site next spring. www.coffeyarchitects.com www.studiozna.com

The Conical Media Wall at Hysan Place, Causeway Bay - Hong Kong Hysan Place is the new flagship development by Hysan, Causeway Bay’s most significant developer of high-end retail and office properties. Given the considerable competition in this entertainment and shopping hub, Hysan Place needed something unique for its grand entrance. This led to the genesis of the Conical Media Wall; a vast electronic integrated façade which forms the arch under which most visitors will pass.

The shape was immediately problematic as the overhanging façade is formed in the contour of a truncated and inverted cone 15 metres high and 24 metres wide. This created a three dimensional puzzle that no conventional modular media wall product could match.

Illumination Physics solved the problem with one of its linear media wall products IP X-Pipe. This is a linear tubular LED product that is vertically mounted in separate rows.

The distance along the vertical pitch of the LED was fixed at 40mm. The distance between the horizontal rows varies imperceptibly from 80mm to 110mm in order to best suit the conical dimensions. Another example of ‘Built-In Design’ from Illumination Physics.

Visit our ‘projects’ section online to find out more... www.illuminationphysics.com

Specialists in customised lighting to suit your design

illuminationphysics.com

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

Pic: John Sturrock

LIGHT PIPE Speirs + Major has conceived and guided the creation of a new illuminated lightwall in King’s Cross, designed to enrich the experience of the pedestrian tunnel that connects King’s Cross St Pancras Underground station with the Chipperfield-designed One Pancras Square.

Following their long-standing involvement in the development of the King’s Cross Central area, the development partnership (KCCLP) invited Speirs + Major to propose ways in which the Allies & Morrison-designed 90m curved concourse could be enhanced through lighting. The resulting idea was to create a memorable and immersive experience; one that would give the tunnel impact and mark it out as one of the main gateways to the site.

Visualised as an illuminated graphic artwork, the lightwall runs the full length of the tunnel, activating the dramatic, triangular tunnel cladding and drawing pedestrians from the adjacent Tube tunnels.

A rolling programme of art is planned to ensure that regular visitors to King’s Cross have an ever-changing experience. Artists Miriam Sleeman of The Cross Kings and Tom Sloan have created the first artwork.

Entitled Pipette, it is designed to evoke the colourful tapestry of Kings Cross.

The wall provides a soft, seamless light effect, with the ability to produce both beautiful pastel shades as well as intense, saturated colour; all of which can be gently animated. The design was developed in close collaboration with The Light Lab, who also manufactured and installed the feature.

Speirs + Major’s Managing Partner, Andrew Howis said: “We are absolutely delighted with the impact that the space has already had. Whilst originally intended as an incidental, discovered experience, we are excited to hear that the art wall may also enable the tunnel to be used as a unique event space.”

Commenting on the design of the King’s Cross tunnel, Graham Morrison, Partner at Allies & Morrison Architects, said: “We have enjoyed the challenge of this project; being able to work so closely with The Light Lab and Cross Kings/Tom Sloan Design on this project has allowed us to create something which shows off its individual elements, but also highlights the art-wall as the main feature.”

Phil Sullivan, Project Director at Argent (Asset Manager for KCCLP), said: “We’re extremely pleased that we have been able to create a new transport connection which is visually exciting as well as practical.

Our work at King’s Cross is about creating experiences across the site, and we felt the same should be true for this tunnel.” www.speirsandmajor.com www.thelightlab.com www.tomsloan.net www.thecrosskings.com www.alliesandmorrison.com

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TOUR T’FRANCE Lighting designer James Bawn created a scheme to illuminate the 330 metre high Arqiva Tower at Emley Moor in west Yorkshire, UK as part of Hypervelocity, the five-day grand final of the 100-day 2014 Yorkshire Festival. The Victoria Tower at Castle Hill was also illuminated. Called Control t’force, the installation coincided with the Grand Depart of the Tour de France in the region.

Bawn worked closely with rental company HSL who supplied A&O Technology Falcon 6000 searchlights, Robe CitySkape Xtreme LED floods, Chroma-Q Color Force 48 LED battens, Clay Paky Sharpies and a bespoke fibre optic system from Luminex.

Bawn not only produced a stunning piece of pop-up public art involving the Grade II listed structure, he made it a truly interactive experience utilising Kirklees Council’s events Twitter page, creating #lightthemast. This enabled people to request their favourite colours when the installation was live each night with Bawn tweeting back as he changed the colours.

On the first evening, #lightthemast was the fourth most popular trending topic in the UK inciting a phenomenal reaction that also sent thousands of people flocking to the location a mile west of Emley in Kirklees to engage in the experience first-hand.

GLASGOW GAMES As part of the Commonwealth Games celebrations, University of Glasgow students Ben Ferguson, David Millar and Jamie Nicol created a strip of 48 three-colour LED lights spread across a single spoke of a bicycle wheel which creates the illusion of a solid picture in the middle of the wheel. The wheel was built by electronics technician Andrew Phillips.

The project was inspired by MonkeyLectric’s revolutionary bike lighting systems, but expanded it to fill the whole wheel so as to provide the students with a challenging real-world electronics problem.

Dr Tim Drysdale, who suggested the challenge and oversaw the student’s work as part of their final year project, said: “The display takes advantage of the phenomenon of persistence of vision... by rotating a single strip of lights very quickly. By changing the colour of the lights as they rotate, the circle can be made to display a chosen image.”

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TRAFIK LIGHTS

[spotlight]

Lighting designer Michael Hallbert collaborated with Swedish design and installation company Luxlight on the recent Kista Trafikplats E4/E18 project just outside Stockholm. The local authorities wanted to recognise the site with a landmark when entering the capital from north and west.

The foundations upon which the two ramps levitate are built using gabion walls with a layer of glass instead of stone that form geometrical, acute-angled shapes.

The glass makes them shimmer during the daytime in the rays of the sun. The idea was to highlight these normally very dark surfaces and create a spectacular view for the travellers when it is dark. The clear green blocks of glass are illuminated from behind

by LED fixtures mounted in vertical shafts.

There is also coloured light on both sides of the bridges close to the walls that softly fades out to the centre. There is a mix of blue and green colours matched to emphasise the glass and the green painted sides of the ramps. The installation is controlled by two Cue Core DMX consoles from Visual Productions, one on each bridge, and they control more than 400 channels, each set to a static level. Behind the glass are VarioLED RGB 2S profiles from LED Linear and the sides of the bridges are illuminated by the Luxlight’s X-line Blue-green fixtures. www.ljusdesign.com

Pics: Olof Thiel

XTREME WAVE Paul Nulty Lighting Design (PNLD) has created an innovative lighting installation for John Lewis using industrial fluorescent lamps.

‘Breaking Wave’ consists of fluorescent lamps suspended from the soffit to create a lighting showpiece. The installation hangs over the ground floor staircase and uses small modular elements in a dynamic composition to encourage a flow of movement up and down the stairway and drawing customers to the back of the store.

It was developed using the Philips Master TL-D Xtreme fluorescent T8 lamp, which is usually found in offices and factories, maintains 40,000 hours of life and 105 lumens per watt.

When combined with the luminaire, the lamps allow for 360 degree viewing; ensuring the light sculpture is visible from multiple angles.

PNLD chose warm white (3,000 Kelvin) lamp sources to complement the architectural lighting across the whole store and also designed the lighting on the walls around the staircase to highlight the installation. www.paulnulty.co.uk

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KITCHEN OF DISTINCTION Situated on the rooftop of an office building, Stereokitchen is a versatile entertainment venue in Beirut designed by architect Paul Kaloustian. Its transparent open plan is designed to cater to both fine dining during the week and a more clubbing set-up on weekends. .PSLAB collaborated with the architects on the concept, design and fabrication of a ceiling that would reflect the versatility of the space and emphasise its open plan.

The indoor space consists of a circular glass pavilion overlooking a 360-degree panoramic terrace. The space is designed to eliminate visual obstructions and allow for maximum transparency. The concept of the ceiling follows through by creating an unobtrusive system that houses the lighting, climate control and sound systems.

The ceiling, made of demountable V-shaped perforated steel modules with a natural steel finish, was produced after taking different factors into consideration. Technically, due to the circular glass membrane of the space, the ceiling had to be tailor made to fit perfectly, creating a seamless flow of its continuous parallel modules. More than two hundred elements of the ceiling that were adjacent to the curved glass façade were measured on site and cut-to-size for installation.

Recessed ceiling lighting fixtures were distributed within the ceiling based on the

SCANNING THE ROOM varying functions of the venue. In addition to its technical functionality, the ceiling is designed to enrich the context spatially.

The perforated triangular sections created a lighter feel for the existing concrete slab and produced a visual monolith connecting the indoor and the outdoor spaces together.

With varying height clearances at different points in the space, the ceiling also becomes a venue for human interaction. It becomes an object that people can approach, touch and feel in a sensory dimension beyond its mechanical components. www.pslab.net www.paulkaloustian.com

Scanner Room, an installation by Karolina Hałatek at the Centre of Contemporary Art Ujazdowski Castle in Warsaw, Poland, engulfs the space completely, creating an environment constructed by, and filled with, light. The most important element of the installation is a constant, monochrome and minimalist flow of light that materialises and diffuses.

Scanning is often used to represent images or to read encoded, written messages.

Therefore, overexposure to light may be regarded in a negative way. But in Scanner Room, the lighting’s intensity develops with time and may get you close to meditation, but it can also take the form of a momentary flash of light, a transient feeling or image. www.cargocollective.com/karolinahalatek

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[snapshot]

Introducing Light Collab, a Singapore-based architectural lighting design practice.

ARCHIFEST PAVILION 2012, SINGAPORE CLIENT: SINGAPORE INSTITUTE OF ARCHITECTS ARCHITECT: WOW ARCHITECTS

Pic: C3 Momentum Studio

Pic: C3 Momentum Studio

Pic: C3 Momentum Studio

Designed by WOW Architects and a first for the architectural festival (Archifest) in Singapore, the Archifest Pavilion, WONDER WALL, served as the festival’s key venue in 2012. The pavilion was a ‘zero waste’ pop-up structure designed to leave no waste after its dismantling. Being the key venue, it also hosted events for up to 100 people, accommodate activities and video projection.

The pavilion was made up of recycled steel box-trusses and double cladded on both sides with semi-permeable polymer mesh layers, which was a material used to retain soil from runoff.

Light Collab collaborated with the architect and came up with the concept of fireflies to illuminate the membrane wall. The LED fixtures simulated the effect of glowing fireflies which spoke about the life of the pavilion facade. LED spotlights on a track system, not only catered for events and exhibitions, but also gently illuminated the feature straw mats.

Track-mounted LED spotlights were also used to illuminate the interior of the pavilion. Scenes were also set for the multifunctional usage of the pavilion.

TOWER OF LIGHT, GLASS TOWER, DHAKA CLIENT: GOVERNMENT OF BANGLADESH ARCHITECT: URBANA - MARINA TABASSUM, KASHEF MAHBOOB CHOWDHURY

The Tower of Light (Glass Tower) is the focal point of the Independence Monument designed by architects Marina Tabassum and Kashef Mahboob Chowdhury from Urbana, winners of the national design competition held by the Ministry of War Liberation Affairs, Public Works Department in 1997. The monument commemorates the independence of Bangladesh on the site where Sheikh Mujibur Rahman, the father of the nation delivered the historic speech that united the people of Bengal to fight for their liberation from 24 years of military rule under Pakistan.

To achieve the architects’ vision of a glowing tower, using Light to create a powerful symbol of hope and selfless sacrifice of the freedom fighters, special attention was given to angling the many narrow beam ERCO spotlights so that they graze the surface of the stacked glass panels, achieving a prismatic glow without highlighting the skeletal structure within. One-degree beam searchlights at each corner of the 150 feet high structure are used to heighten the glowing effect of the Tower of Light, rendering it visible from afar.

As light passes through clear glass, it was a major challenge to make the 150-feet tower, which is made up of clear stacked glass, glow. With careful angling of the narrow beam spotlights, it is possible to show other properties of light such as internal reflections and refractions which resulted in a prismatic glow that varies in relation to the distance of the viewer.

Pic: Teruhiko Kubota

Pic: Teruhiko Kubota

Pic: Teruhiko Kubota

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AUDI MINATO MIRAI, YOKOHAMA CLIENT: AUDIAG/AUDI JAPAN/AUDI JAPAN SALES ARCHITECT: PROJECTS INTERNATIONAL INC, JAPAN

Pic: Toshio Kaneko

Pic: Toshio Kaneko

It is often thought that car showrooms require vast amount of energy to achieve the 800 to 1000 lux light levels that will sufficiently show off every design detail of a car. Part of the challenge posed by the client on this Yokohama project was to achieve an energy-conscious solution, whilst meeting the demands of Audi’s corporate and interior design style.

The new Audi Centre achieves similar light levels in its showroom thanks to high-powered, energy efficient luminaires with good glare-control from Panasonic. These are installed in the six metre ceiling and use an average of 10W/m2. The other areas have an average energy consumption of just 6W/m2.

In addition to the direct illumination on the cars, a series of linear luminaires with uplighting optics from Siteco are used to illuminate the ceiling of the car showroom. They are lined up along the Audi ‘black’ curve wall, which is reminiscent of a race track. The cars and the showroom are visible from the street allowing both to be on display at any time of the day. The Audi curve is again repeated on the luminous line that follows the profile of the façade.

The lighting in the customer zones such as the sales area, Audi merchandise areas and kids’ room were designed using a warmer colour temperature to create a friendly, intimate and relaxed ambience.

Other elements of Audi branding include the ‘lines of light’, which are repeated in the ceiling feature of the media and sales area, and a series of indirect lighting, carefully incorporated into various key features of various spaces, creating layers of light.

9 ASTRID HILL, SINGAPORE ARCHITECT: K2LD INTERIOR DESIGN: STUDIO TERRE

This project is a private residence at Astrid Hill, one of the most exclusive areas in Singapore. Light Collab focused on identifying key architectural forms to illuminate such as the cuboids of the architectural form and also considering the internal and external views of the house. One of the key features is a spiral staircase, which became a sculptural element with light. Instead of typical step lights, indirect lighting was incorporated into the side of the staircase. The travertine wall at the side is also uplit to create an asymmetrical view.

Outside, the boundary wall was identified as another key feature. Here, uplighters were used to create a regular visual rhythm.

Pic: Masano Kawana

Pic: Masano Kawana

Pic: Masano Kawana

LIGHT COLLAB, SINGAPORE • TEAM: Li Qi Chua, Teruhiko Kubota, Yah Li Toh, Sherry Sharmila • HEAD OFFICE: Singapore • ESTABLISHED: 2010 • EMPLOYEES: 4 • CURRENT PROJECTS: Park Royal, Nay Pyi Daw, Myamar; Premier Inn Makassar and Jogjakarta, Indonesia; Satoria Office Tower, Indonesia; SICC building, Yangon, Myanmar; Crockfords Casino, Maxims Hotel, Genting Highlands, Malaysia; Nucleos at One-North, Singapore; private residences 40 & 42 Dalvey Road; and 77 Branksome Road in Singapore.

“We believe strongly that light can be both aesthetic and functional, revealing and accentuating the core principles of architectural design. The key to good design is how users relate to it and how their emotions are stirred due to light creating a narration of the space.”

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[lighting talk] This issue we talk to Melkan Tabanlioglu of Turkish practice Tabanlioglu Architects.

... what made you become an architect?

I come from a family which is focused on social and political issues; COULD YOU TELL ME... my grandfather was the fourth president of Turkey and involved in the political world during my childhood and, being a sociable person interested in public matters, I could have been in politics. During my high school years I thought my career would be in politics. Yet, during my early teenage years, I liked to design and make clothes and do all kinds of creative work. I wanted to be some kind of designer, perhaps a fashion designer. Still, I assume my biggest motivation has been my father’s great interest in making our homes elegant and modern. We always had some kind of construction going on in our houses. I am lucky to be an architect, as it covers ‘life’ in a large perspective, including politics and all human issues. ... how important is lighting to your designs?

My signature style is clear, functional, interactive spaces that are in harmony with existing values and the environment. Lighting is a basic linkage in creating an atmosphere, in the interior or exterior.

Good light grants good life; in terms of increasing work capacity, and all qualities of living. As Tabanlioglu Architects, with almost every project, we have our architectural lighting design consultants. Most of the time Studio Dinnebier is involved in our projects. ... what excites you about light and lighting?

Architectural lighting is one of the major issues of design. More than that, incorporating natural light in the building is essential, with concern for sustainability and providing a healthy interior life quality. This is very true of office buildings, such as the ESAS aeropark [1] and the Selcuk Ecza headquarters [2] that we

designed, where a working environment is so improved by natural light filtering through. ... why is spending time thinking about and working with light important to you?

Real and emotional effects created with light - both inside the building for inhabitants, and outside the building, for people in the city viewing it from a distance - is very impressive. Especially in recent years, like all over the world, we design with lighting in mind as an architectural element. ... how do you approach lighting a building through architecture?

For example, Istanbul Modern Art Museum [3] , despite being a museum – although such exhibition spaces are conventionally preferred as closed modules - the main decision was to keep the openings wide open using sun-controlled technical glass. Transparent glass partitions provide continuity between spaces. Instead of a closed museum box, interior spaces exposed to the background view of the open-air museum city of Istanbul through wide glass openings, which keep the natural light under maximum control, offer various moods in line with the changing atmosphere’s conditions. The main aim is for the interaction between the visitors, surroundings, exhibited work and the building. For artificial lighting, we kept very simple also, focused on the good light for the exhibitions. Natural and artificial lighting is a crucial part of the design decision. ... what role do you think lighting plays in the life of a city?

It is not only for a new building, but also for the beautification of the whole city, lighting becomes a valuable tool to highlight

Pic: Murat Germen

Pic: Thomas Mayer

Pic: Thomas Mayer

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monuments, the historic buildings, parks and squares, especially in a city like Istanbul. ... what are the best and worst illuminated spaces you have visited?

In terms of both natural and architectural lighting, my favorite buildings are Tadao Ando’s the Church of the Light in Osaka, Peter Zumthor’s Kolumba Museum in Cologne, and New Art Museum in New York by Sanaa. Unsuccessful illumination makes beautiful buildings and spaces look ugly..

Pic: Emre Dorter

... how important is shadow and the balance of darkness and light in your work?

We are always interested in balancing light and shadow. We design the buildings for day and night, and how the building receives and reflects light. Reviewing our projects, Tripoli Convention Center[4] and Sipopo Congress Center [5] , for example, one will notice the careful attention to this.

Melkan & Murat Tabanlioglu’s new book Transparency and Modernity, featuring the practice’s latest local and international projects, is now available. Murat Tabanlioglu [6] was curator of the inaugural Turkish pavilion at the International Architecture Exhibition at this year’s Biennale di Venezia.

Pic: Emre Dorter

www.tabanlioglu.com

Pic: Thomas Mayer

Pic: Cemal Emden

Pic: Cemal Emden

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DETAILS

MAGIC MAN Charles G. Stone II, President of New York City lighting design practice Fisher Marantz Stone, discusses his principles, predictions and how he makes dreams come true for clients.

Pic courtesy of WILA

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Above left ‘Empty Sky’, New Jersey September 11th Memorial, Jersey City, New Jersey (Frederic Schwartz Architects, September 10th, 2011).

Above right Georgia Aquarium, Atlanta, Georgia (PGAV Destinations, November 2005)

Charles G. Stone II, President of Fisher Marantz Stone, has been involved in lighting design, one way or another, for three years shy of half a century now. Surprised? He doesn’t seem old enough, does he?

“I was about eleven years old and I wanted to be a rock & roll singer. But that didn’t work out,” he recalls. “I was playing with lights both in school and at the local community theatre in Harrisburg, Pennsylvania. I was quite sure I wanted to be a lighting designer before I knew there was such a profession. I then worked in theatre through all my high school and university days. I got excited by using light and what it could do to excite others.”

After graduating from Princeton University with a BA in English and a Certificate in ‘Lighting Design for Theater and Dance’ (a program he invented with his academic advisor), Stone was on course to continue in theatre lighting design until a meeting with architectural lighting design legend Sy Shemitz (founder of Elliptipar and renowned for his work on Grand Central Terminal in New York City and the Thomas Jefferson Memorial in Washington D.C.) changed his direction.

“He pointed out to me that in theatre, you design and build things that last perhaps two weeks or a year, but in architectural lighting it’s 40 years.”

And so a career in architectural lighting design was born. Jules Fisher and Paul Marantz started a business in Jules’ basement in NYC in 1971. Charles Stone joined afterwards (following three years with Claude R. Engle III) and, in a meteoric

rise, became a partner a few years later.

Interestingly, Fisher Marantz Stone (FMS) and its sister firm, Fisher Dachs Associates (FDA) practises both architectural lighting and theatrical lighting design, although the two disciplines are very much separated in the studio.

“There are differences in time and point of view. In the last decade we have seen the influence of theatre on architectural lighting. It is not only colour and colour changing, but also the expectation of dynamic light. The fundamental difference in the two sides of our studio is, that in the theatre you sit in a chair and the scene changes in front of you or around you. In architecture you move through the ‘theatre’. Understanding this difference is important for an architectural lighting designer.”

FMS has six studio groups and five of them are headed by Principals, one by a very talented younger designer with nine years of experience. Stone has a very “deep bench”, as he calls it, in the studio.

“When we are working on a project, my team already know the answers. They are telling me the answers before we even have finished the conversation.”

The mantra for FMS is that ‘We create magic’, using light to narrate the architect’s story enhancing the communication of design through environmentally and economically conscious lighting solutions.

It may seem like a romantic notion but it is one that Stone passionately believes in, even when it comes to lighting an office building.

“The client doesn’t need to pay me to do calculations or to pick light fixtures or to light up a building because many people can do this. The manufacturers can do it.

Engineers can do it. So when the architect or the owner comes to us he doesn’t come to buy a lighting design. He comes to buy magic because my portfolio is full of magic.

They will come and hire FMS because we are going to give them something special.

I explain to my young staff: nobody comes to us for a good job, they come to us for a great job. You can say this is just talk for hype or sales talk but it is true. They don’t come to me for a regular project. They want something special and that special thing is magic. So yes, if someone walks into an office building every day and it looks terrific and they say ‘Wow’, that’s magic.”

FMS, and Stone in particular, is engaged in many other parts of the world especially Asia, bagging huge projects such as Chek Lap Kok Airport in Hong Kong and Burj Khalifa in Dubai. Working around the globe poses challenges but Stone believes it should be simpler.

“Cultural preferences are an important parameter in design. But this gets confusing because, for example, the Beijing client hires a New York designer because they want something of New York - not because they want an interpretation of Chinese culture from somebody in New York. They can get that somewhere else. So this gets confused. It’s not so clear to me.

In addition, consider what the jet plane and the Internet do for mixing up all the

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‘Reflecting Absence’, The National September 11th Memorial (Handel Architects), opened on September 11, 2011.

ideas from cities that are far apart with completely different cultures. There are two things going on: there is cultural interaction but also something specific imported from another place.”

One thing that remains the same around the world is the complexity of the building technology. With this rising complexity, is it more difficult now to realise a good integrated lighting solution recognising all the different building technologies?

“The most difficult thing is that the people who manage the buildings, the facility staff, they need to have ongoing education.

But I am unconvinced that we are making progress in this area. This complexity of systems is a big problem. Project after project I visit - not just mine, many it`s so complicated, nothing ever works right. So I am trying all the time to make it simple, simple, simple. Buildings are organic. Architects know this. But this is becoming a bigger and bigger problem for lighting designers with the emphasis not on just energy saving but digital lighting.

All this solid-state lighting is much more complicated. When you made light with a tungsten lamp you have two wires and you turn the switch and light comes out. Now you have control gear, drivers, complicated dimmers, more complicated light loss factors and on and on. It’s much more difficult than it was just a decade ago.”

Like all lighting designers of his generation, Stone has grown up with traditional light sources only for everything to be blown out of the water by the disruptive technology

of solid-state lighting. At the outset Stone was cautious about the speed at which LED technology would advance but he admits that he underestimated the LED tsunami, as he calls it.

“I was completely wrong about how long it would take for LED to be viable for so many applications. I thought it would take another ten years; and, I had been saying that LEDs were going to be a transitional technology. But I think I was wrong. LED and other technologies are evolving so quickly - how they make the diodes, how the heat management is done, and how the voltage is being handled with control gear. The opportunity that is presented is very attractive - the form factors for light fixtures can dramatically change. This is very disruptive because all the tooling you have for 150mm deep fixtures is going to get rusty. Because the new form factors can be shallower and smaller. But small is not always better, because smaller sources are brighter and this will dramatically effect fitting design. All the parameters that created dimensionality for light fixtures going back to gas lamps and the associated profiles are now subject to revision.”

FMS is an active member of both the United States Green Building Council (USGBC) and the International Dark-Sky Association (IDA).

Their portfolio includes over 100 projects targeting LEED certification and over twenty projects that have achieved GOLD or PLATINUM status. Are these projects often a battle between efficiency and light quality?

“No, not at all. I used to think that was

going to be the toughest challenge, but it’s not. There are two or three things going on here. The fairest way to regulate energy consumption for lighting would be to go to the door of the building, make a determination for the total wattage of the building and say to the designer. There you have it. Use it the way you want. That’s not the way it works. Codes are more prescriptive than that. You are limited by smaller areas in the building, generally speaking. Also it’s not just power density now. LEED ties you to a standard called ASHRAE-IES. And ASHRAE-IES has other limitations such as exterior lighting power densities per square metre. But I would not say I feel limited by the energy code.

Very rarely are we really stuck with not enough power. As the fixtures get more efficient this power problem becomes more manageable. That is not to say you can go to zero with power. But so far I think we have managed it pretty well.”

Approaching each project as a new challenge and searching for a design solution that best captures the identity of the project brings up its own problems.

More and more, during the design development process, custom-made products are called for, even demanded by the client.

“The trouble is, clients always want to pay less. No one wants to hear the truth that on every project some percentage of the fixtures have never really been made before. They are custom to some extent.

Many times the architects and owners have

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Notable projects down the years from Fisher Marantz Stone include: (clockwise from top) Burj Kalifa, Dubai (SOM, January 2010); Washington Monument, Washington D.C. (2005); Space Shuttle Atlantis at The John F. Kennedy Space Center, Cape Canavera (PGAV Destinations, July 2013); Chek Lap Kok Airport in Hong Kong (Foster and Partners, July 1998).

HIGHLIGHTS Projects that you would like to change: I would like to get my hands on Biltmore Estate in Asheville, North Carolina, the White House in Washington, D.C., the Sydney Opera House, and about a dozen other important listed buildings out there.

I would like to reorganize some of the RGB madness that overtook our profession. Apologies if I have upset anyone.

Projects you admire: The Abu Dhabi Grand Mosque by the late Jonathan Speirs is a living concept. Also the Korean Department Store by Rogier van der Heide. They led the way to animated buildings.

I am inspired daily by the visionary and unbridled genius of the 50 year body work by my firm’s founders, Paul Marantz and Jules Fisher, on projects around the globe - from Studio 54 to the Tribute in Light and the Barnes Museum, and a thousand projects in between.

trouble understanding that and trouble believing it, meanwhile they are designing a custom architectural solution on every single building. But they want the light fittings to be standard. If you have a single owner or owner occupied project you are more likely to be in what we all call “project work”. In that case there is more custom. On the other hand I try to explain to everyone - in our studio, to our clients - that everything in the catalogue is made once for the first time and on that day it was custom. The bad news is just because it is in the catalogue does not mean they have made it since, they may have only made it once. Being careful to specify exactly what you want is more important than worrying about whether it is custom.”

With his passion for design and determination to explore the unknown, Stone transformed FMS from a US-based design practice into a major international player at the beginning of the ‘90s, becoming president of the firm in 1999. He also served as president of the International Association of Lighting Designers in 20045. Does he think that FMS and the lighting design profession is in safe hands with the younger generation coming up behind him?

“We have become a very special organization since our founding in 1970 in Jules Fisher’s basement. Here we are fortysome years later. Now we are in second

generation becoming third generation of designers. There is this wonderful sort of ball of knowledge and experience that’s rolling forward. When people bring us a design problem we can gather 100 years of experience around the table just by calling some people over to talk.

“There is this tremendous legacy of information and knowledge, and a way of practicing which is very collaborative and inclusive of the younger ideas, which frequently are the same as the older ideas.

They just don’t know it yet. I may be the spokesman today but there isn’t anything special about what I know compared to the incredible talent in our studio. That’s an important point. I don’t think I am the best designer. This is not a single artist kind of profession. To do big architectural projects, the lighting is so complicated that you need a team of lighting designers to work very hard on it. I see it every day in the studio.

They have the better ideas. They are the ones digging, researching and sketching.

They are the ones coming up with the ideas and creating the specification - and the magic.” www.fmsp.com

This article is an edited version of an interview published by WILA in their inhouse magazine available at www.wila.com

Projects you dislike: I have grown weary of gratuitous colour on buildings of all sorts (a crime of which I too have been guilty). I’m going back to white light.

Lighting Hero: Heroes for the ages - or perhaps they are lighting saints: Louis Kahn, Sir John Soanes, Ricardo Legorreta, and Michelangelo Merisi da Caravaggio.

Notable projects: Carnegie Hall, New York; Hong Kong Airport; the Burj Kalifa, Dubai; The JP Tower, Tokyo; The Washington Monument, Washington D.C.; The George W. Bush Presidential Library, Dallas, TX; Space Shuttle Atlantis at The John F. Kennedy Space Center, Cape Canaveral, FL. Most memorable project: For scale, scope and time spent... It is hard to top the Hong Kong Airport.

For emotion, the renovation of the Market Square Presbyterian Church in Harrisburg, Pennsylvania - where I was baptized long ago.

For patriotism, the Washington Monument.

For fun, my School-house workshop project at Alingsas, Sweden.

For school spirit, the fifteen projects we have done for Princeton University.

Current projects: The new American Embassies in London and Mexico; super tall towers in China, Malaysia, and Indonesia; The World Trade Center site in New York: Memorial, Museum, Three of the four new WTC towers, and the New Path Station; the National Museum of African American History and Culture in Washington, DC; the National Museum of Civil and Human Rights in Atlanta; and we have just begun working on a lighting master-plan for Thomas Jefferson’s Monticello. The Peninsula Paris, a fabulous and luxurious renovation two blocks from the Arc di Triomphe, opens on the 1st of August.

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PROJECT / ONE CENTRAL PARK, SYDNEY, AUSTRALIA

Pic: Simon Wood Photography

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WHERE THE SEA MEETS THE SKY Atelier Jean Nouvel’s new One Central Park building in Sydney’s CBD combines an array of elements designed to engender a postitive response at a human scale. Key among these is the giant heliostat that juts from the site’s 29th floor, redistributing sunlight during the day and providing the 100m-high setting for a new light art installation by Yann Kersalé.

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PROJECT / ONE CENTRAL PARK, SYDNEY, AUSTRALIA

As a rule, the more unusual and adventurous a building’s architecture, the more likely it is to split opinion, attract public scorn and even – when a big name practice is behind the plans - draw accusations of ‘starchitectural vanity’. On paper, then, the new One Central Park development in Sydney might seem a prime target for a local lynching: a large-scale, $2 billion commercial development in the heart of the city, designed by renowned French architect Jean Nouvel, crowned by an unusual, cantilevered heliostat structure, protruding from the 29th floor of its highest tower.

In reality, the new complex of buildings has been given an almost universally warm welcome – a testament to the skills and vision of the entire project team, from clients and architects through to contractors and public

art commissioners. Instead of presenting an aloof and indifferent front to the surrounding neighbourhood, the entire scheme has been dressed with idiosyncratic touches designed to help it engage with its environment on a human scale; features like the vertical gardens that envelop the façade and the giant heliostat system of mirrored panels that deliver a dappled light to the adjacent semi-public park space.

The heliostat was introduced as an integral architectural component by concept architects Atelier Jean Nouvel, working with local partner PTW. It comprises two sets of fixed and motorised mirrored panels that work together to collect and redistribute sunlight throughout the day. Consequently, external areas that would otherwise have been lost in the shadow of the surrounding

buildings have a direct connection with the sun and an internal atrium within the One Central Park complex can receive natural daylight via its glazed ceiling.

The upper section of the heliostat has been given a further role as the structural canvas for a permanent light installation by project artist Yann Kersale, a long-time collaborator on Jean Nouvel projects. The gently rolling dance of this new piece - dubbed ‘Sea Mirror’ - provided engineers and lighting specialists an added layer of complexity to an already challenging system/construction.

In 2010, the property developers - Frasers Property Australia in a joint venture with Sekisui House Australia – commissioned heliostat specialists Kennovations to assess the technical feasibility of the project.

It was the start of a series of extensive

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Pic: © Yann Kersalé, AIK

Pic: © Yann Kersalé, AIK

Pic: © Yann Kersalé, AIK

investments in custom designs, prototyping, manufacturing and assembly that resulted in the final system.

“This is the first architectural heliostat project of this scale we have engaged in,” says Tim Phillips, Kennovations’ General Manager. “While we have a background in heliostat design and manufacture for the solar industry, One Central Park was the first of its kind in terms of primarily being a public artwork display. The challenging scope of work and unique deliverables gave us a keen desire to explore new architectural opportunities.”

Device Logic was another key stakeholder in the development of the system, supplying the software that manages the sun-tracking heliostats. Each heliostat is motorised and programmed to track the sun and reflect

sunlight towards predetermined targets.

Such technology requires perfect precision and timing in order for the targets to receive the reflected light at the appointed time of day.

Forty of these sun-tracking, 6.2sqm mirrored panels are positioned on the roof of the shorter One Central Park West tower.

Sunlight is directed up to a second plane of mirrors, attached beneath a 24m wide, cantilevered framework that extends 28 metres outwards from the side of One Central Park’s East tower. Floating 100 metres above the ground, this upper section supports 320 reflector panels, 1.5sqm in size, which throw the light down to the park precinct, in through the atrium roof and towards the site’s outdoor pool area.

It is within this upper tier of tiles that

The upper section of the heliostat structure, incorporated into the One Central Park East tower, comes alive four nights a week.

An integrated system of 2880 Philips Color Kinetics LED nodes display a light art installation composed

by Yann Kersalé. Dubbed ‘Sea Mirror’, the work evokes the changing reflections of the sun on the water in Sydney Harbour.

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PROJECT / ONE CENTRAL PARK, SYDNEY, AUSTRALIA

Kersalé’s Sea Mirror (or ‘Miroir de Mer’ in the artist’s native French) is interwoven.

Each of the 1.5sqm panels is fitted with nine tri-chromatic LED nodes from Philips Color Kinetics, placed into a custom harness to allow wider spacing of the light points.

Every two panels shares a power supply with its own URL. A DVI video file provided by Kersalé is input into a video system manager that transports the information through Ethernet protocol (KiNET) to the power supplies, where it is converted into DMX signal for each individual LED. In total, 2880 LED nodes combine to create the finished installation.

The result is a swelling, rippling, sparkling display that brings the heliostat back to life after the sun has set: five 30-second lighting ‘performances’ that run on regular rotation from dusk until 10pm on Thursday, Friday, Saturday and Sunday nights.

Thematically, Kersalé took his inspiration from Sydney Harbour and the changing colours of the sunlight as it reflects off the water throughout the four seasons.

“Sydney’s harbour is mythical for the sailing universe and, being a sailor myself, the opportunity to capture the sea in this way and reflect it indirectly on the heliostat, constitutes the grounds for this geo-poetical signal,” explains Kersalé.

“A rotating series of images of reflections of the sun on the water will take shape via lights on the heliostat. The variations will be in relation to the shades and colour tones of Sydney’s harbour. It will not be a live projection but a capture of sea substance and light sparkles on site, which will then be worked on. They can relate to seasons or can be a game of opposites; i.e. the light emanating from a summer sun in the middle of winter.

“It is symbolic not only of Sydney, but the whole of Australia and the sea that surrounds it.”

Arup were part of the team given the difficult task of realising Kersalé’s vision.

JAPANESE ワン・セントラル・パークは、 シドニーのCBD の南端にある新規開発区で、有名なフランス 人建築家ジャン・ヌーヴェルが地元のパート ナーPTWと共同でデザインしたものです。建 築コンプレックスの中には人々とのヒューマン スケールで携わる様々なデザイン要素が含ま れています。 たとえば、建物内のアトリウムスペ ースの光沢処理が施された屋根を通じて隣 接したセミパブリックパークスペースにまだら 状に光が差し込む、 ミラーパネルの巨大ヘリ オスタットシステムやファサードを含む垂直線 状に広がるガーデンが挙げられます。低いウ エストタワーのルーフ上にあるモーターの付 きミラーは、 イーストフロアーの29階からの片 持ち梁状の24m x 28mの大きさのアッパー セクションをライトアップします。夜になるとこ のアッパーセクションはヤン・カーセルによっ て設営された照明芸術のキャンバスの働きを

Pic: Simon Wood Photography

Incoming rays from the sun are caught by forty, 6.5sqm sun-tracking panels, located on the roof of the shorter One Central Park West tower. These are programmed to reflect sunlight up towards a cantilevered structure, jutting out from the East Tower.

Here, 320 of the 1.5sqm mirrored panels throw the rays where it is required: to the adjacent public park space, in through the glass ceiling of an atrium within the complex, and toward an outdoor pool.

Graphic: Kennovations

します。“シーミラー”では、 カーセルによって 作られた一連のパフォーマンスを映し出すヘ リオスタット内に埋め込んだ （1.5平米のミラ ー320枚のそれぞれに各9個） 合計2880個の LEDポイントを使用しています。各パフォーマ ンスは季節ごとに、 シドニー・ハーバーの水の 様子を光の色や動きで表現しています。

CHINESE 贾特拉帕蒂·希瓦吉国际机场是印度第二 中央公园 (One Central Park) 是最新开发的 豪华公寓，位于悉尼 CBD 中心区南端，由 法国著名建筑师让努韦尔 (Jean Nouvel) 与 当地合作伙伴 PTW 联合设计。该建筑群包 含从人性化角度吸引人们的一系列设计元 素，如覆盖外墙的垂直花园和由镜面板组 成的巨大的日光反射系统，该系统能向邻 近的半开放式公园反射斑驳的光线，并能 穿过建筑内部中庭空间的玻璃屋顶。位于 较低的西栋屋顶的电动日光反射镜能将日

光反射至 24 米 x 28 米的上部日光反射装 置处，该日光反射装置为悬臂式结构，位 于东栋 29 楼。一到晚上，它就成为灯光艺 术家 Yann Kersalé 的艺术照明的背景。‘ 海镜’ (‘Sea Mirror’) 使用了 2880 个 LED 节点灯（共有 320 面 1.5 平方米的镜 子，每面镜子使用九个节点灯），嵌于日 光反射装置中，呈现出一系列 Kersalé 的 设计效果。每种效果都代表着一年中不同 时期光线颜色和位置的变化， 因为它能通 过悉尼港的水面反射光线。

FRANÇAIS Le 1 Central Park est un nouveau complexe immobilier à l’extrémité sud du CBD de Sydney conçu par le célèbre architecte français Jean Nouvel, en collaboration avec son partenaire local PTW. Le complexe comprend une série d’éléments de conception architecturale à échelle humaine qui admettent une participation directe des habitants ; des jardins

verticaux enveloppent la façade et un immense système d’héliostat de miroirs fournit une lumière tamisée à l’espace semi-public adjacent et traverse aussi le toit vitré d’un atrium situé à l’intérieur du bâtiment. Des miroirs motorisés placés sur le toit de la tour inférieure ouest projettent de la lumière vers la partie supérieure, grande de 24 m x 28 m, et reliée en porte-à-faux au 29e étage de la tour est.

La nuit, cette partie supérieure est utilisée comme toile de projection pour une installation d’art et de lumières créée par Yann Kersalé. Le spectacle « Miroir marin » utilise 2880 diodes électroluminescentes, soit neuf pour chacun des 320 miroirs de 1.5 m², intégrées à l’héliostat pour projeter les spectacles de Kersalé. Chaque représentation recrée les couleurs et les mouvements de la lumière reflétés sur l’eau du port de Sydney à différentes périodes de l’année.

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PROJECT / ONE CENTRAL PARK, SYDNEY, AUSTRALIA

Pic: © Yann Kersalé, AIK

“The major challenge of this design was in converting the original 16:9 video from Yann Kersale into the more square formation of the mirrors, having an abstract video while retaining the original artist’s intent,” says Carter Leung, Senior Lighting Designer at Arup. “Selecting the right product was crucial and having a skilled supplier like Xenian helped.”

Another challenge the team faced was selecting a product with the appropriate output to achieve the required visual impact while having minimal obtrusive effect to the residential spaces directly adjacent to it.

In 2011, Arup carried out a 1:1 mock-up at the site, bringing together the whole design team (along with Frasers Property Chairman

DEUTSCH One Central Park ist eine Neuerschließung im Süden von Sydneys CBD, die durch den bekannten französischen Architekten Jean Nouvel entworfen und in Zusammenarbeit mit dem lokalen Partner PTW verwirklicht wurde. Der Gebäudekomplex umfasst eine Reihe von Designelementen, die Menschen von der humanen Seite erfasst: Merkmale wie senkrechte Gärten entlang der Fassade und das riesige Heliostatsystem mit Spiegelwänden, die für Lichtflecken im angrenzenden halböffentlichen Park und im Glasdach des Atriums innerhalb des Gebäudes sorgen.

Motorisierte Spiegel auf dem Dach des niedrigeren Westturms werfen Licht bis hoch zum 24 m x 28 m großen oberen Bereichs, der von der 29. Etage des Ostturms auskragt.

Nachts agiert dieser obere Bereich als Leinwand für eine Lichtkunstinstallation von Yann Kersalé. ‘Sea Mirror’ verwendet 2880 LED-Knoten (neun für jeden

Dr Stanley Quek) to evaluate the product.

Since its unveiling in December last year, the Sea Mirror has become a beacon not just for the One Central Park site, but for the whole southern CBD area and its continued evolution. By 2015, $2 billion of investment will have been added within 500 metres of One Central Park, including buildings from Frank Gehry and Norman Foster, alongside some of Australia’s best architects. Kersalé’s installation provides a rippling heart to this rejuvenation process, forging a connection not only with the harbour, but also with the people of Sydney. www.arup.com www.ykersale.com

der 320, 1,5 qm Spiegeln), eingebaut in den Heliostat, um eine Reihe von durch Kersale kreierten Performances anzuzeigen. Jede Performance stellt die Farben und Bewegungen des Lichts zu verschiedenen Zeiten des Jahres dar, wie es vom Wasser im Hafen von Sydney reflektiert wird.

ITALIANO One Central Park è un nuovo ampliamento nella parte sud finale del Distretto affaristico di Sydney, progettato dal famoso architetto francese Jean Nouvel che ha lavorando con il partner locale PTW. Il complesso degli edifici comprende una serie di elementi di design che coinvolgono umanamente la gente: caratteristiche come i giardini verticali che avvolgono la facciata ed il gigante sistema eliostato con pannelli a specchio che offrono una luce variegata sullo spazio del parco semi-pubblico adiacente all’edificio che passa anche attraverso il tetto vetrato di un atrio all’interno dell’edificio stesso. Gli specchi motorizzati

PROJECT DETAILS One Central Park, Sydney, Australia Client: Fraser Property Australia & Sekisui House Australia Concept Architect: Atelier Jean Nouvel Collaborating Architect: PTW Architects Heliostat: Kennovations Project Artist: Yann Kersalé Lighting Consultants: Arup Public Art Consultant: Barbara Flynn, with Turpin+Crawford Studio.

Lighting Supplier: Xenian.

LED Light Manufacturer: Philips Color Kinetics

sul tetto della torre occidentale più bassa, gettano luce fino alla parte superiore (24m x 28m), che sbalza dal 29° piano della torre orientale.

Di notte, questa sezione superiore funge da tela per un’installazione artistica di luci creata da Yann Kersalé e chiamata “Sea Mirror” che utilizza 2.880 LED (nove per ciascuno dei 320 specchi di 1,5m²) incorporati nell’ eliostato per visualizzare una serie di spettacoli creati da Kersalé. Ogni performance rappresenta i colori ed i movimenti della luce in diverse parti dell’anno in quanto riflette l’acqua del porto di Sydney.

ESPAÑOL One Central Park es un nuevo desarrollo en el extremo sur del CBD de Sidney, diseñado por el reconocido arquitecto francés Jean Nouvel, trabajando en conjunto con el socio local PTW. El complejo de edificios incluye una serie elementos de diseño que compromete a la gente en escala humana: características como

los jardines verticales que envuelven la fachada y el gigante sistema heliostato de paneles espejados que entregan una luz destellante al espacio de parque semipúblico adyacente y a través del acristalado techo de un patio interior dentro del edificio. Los espejos motorizados en el techo de la Torre Oeste más baja, arrojan luz hasta el sector superior de 24m x 28m, el cual está suspendido desde el piso 29 de la Torre Este.

Por la noche, este sector superior actúa como un lienzo para una obra de arte lumínica instalada por Yann Kersalé. Sea Mirror utiliza 2880 nodos de LED (nueve por cada uno de los 320 espejos de 1,5 metros cuadrados) encastrados dentro del sistema heliostato para exhibir una serie de presentaciones creadas por Kersalé. Cada presentación representa los colores y los movimientos de la luz en las diferentes épocas del año ya que se refleja en las aguas del Puerto de Sidney.

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PROJECT / TRINITY HALL, CAMBRIDGE, ENGLAND

“HINC LUCEM ET POCULA SACRA” The historic Dining Hall at Cambridge University’s Trinity Hall college serves as both student refectory and backdrop for grand special events. A new scheme by Hoare Lea Lighting faithfully renders the rich historical setting and fine food on offer.

All photography: Redshift Photography

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PROJECT / TRINITY HALL, CAMBRIDGE, ENGLAND

Founded in 1350, Trinity Hall is one of the oldest Colleges of Cambridge University.

The college’s many historic building include the Dining Hall, a 14th century structure arranged in the traditional medieval hall style, with a High Table on the dais at the far end of the room, where the Master and Fellows still sit for functions today.

With stained glass crests, gold-leaf coated friezes and pillars and historical portraits depicting past Masters, Deans and distinguished members of the College, the Dining Hall is a perfect setting for a meal for up to 150 guests and is used by the College on a daily basis, serving as a cafeteria as well as providing a setting for twice-weekly ‘Formal Hall’ dining, and for events, such as conferences and wedding ceremonies.

To further the sense of occasion for these events, the college brought in Hoare Lea Lighting to design and implement a suitable lighting scheme for the space.

The brief from the College was to restore the Hall, remaining faithful to the original architecture and finishes, while creating a contemporary lighting layout, suitable for various functions.

PLANNING AND IMPLEMENTATION As the starting point to the design process, Hoare Lea Lighting invested a great deal of effort into understanding the architectural features of the space, while also creating the desired visual impression and the ability to accommodate a number of functions.

Lighting designer Juan Ferrari explains: “Working on listed buildings is always a challenge, as of course, you must be mindful of the architectural heritage of the space, enhancing it at night and complementing it during daytime hours. At each step, you must consider the implications of introducing new light fittings, working to the current needs of the space, but always bearing in mind the function for which it was originally designed.”

Hoare Lea Lighting considered every treatment individually, as if each was an adjective to the architectural narrative. This narrative and the movement of lighting design is difficult to communicate and Hoare Lea used a variety of tools, such as lighting renders, integration details and mock-ups to discuss the brief and translate concepts into images and words.

“We looked at all the lighting opportunities

the space had to offer, and then showed each treatment to the client individually, in conjunction with other treatments, and in relation to the function required of the Hall,” says Ferrari.

The approved scheme was based on the concept of a highly controlled ambient/task lighting backdrop, which allowed Hoare Lea Lighting to have a ‘dark canvas’ on which to highlight architectural elements individually, and with the lowest levels of power consumption possible.

For this purpose, an arrangement of six LED track-mounted adjustable downlights – the Flos Solid Pure Spot - were positioned at high-level (on the apex of the trusses) to provide general illumination. This provides flexibility and control, allowing the fittings to be focused only onto the tables or the floor, without spilling light on walls or paintings. Due to the use of the space as a dining hall, it was important that the colour rendering of these LED fixtures was more than CRI 90, in order to do justice to the food served.

Once the task/ambient light was resolved, work started on the volume and feature lighting. The architecture seemed designed to accommodate artificial lighting treatments, allowing fittings to be concealed and preventing the appearance of jarring elements. The mouldings dividing the architectural line between the low- and high-level windows and balcony helped contain a Flos LED Squad profile that uplights the walls at high level. The timber structure at the ceiling perimeter acts as containment for the Squad LED profile, which grazes the vaulted ceiling.

All feature elements and artwork are independently illuminated. Paintings have a dedicated LED system, tailored to the dimensions of each artwork. The distribution and angle at which the light hits the canvas was carefully designed by Hoare Lea Lighting, alongside TM Lighting (manufacturer and artwork lighting specialist) and a high, full-colour spectrum 95+ CRI LED was used to achieve the correct quality of light, emphasising the true colour of the artworks on display. Picture lights also bring vertical brightness to the space at a human scale.

The fireplace and reredos are illuminated by projectors attached to the track system at high-level, with fittings visually matching the downlights used for general lighting.

The Dining Hall is used by the College on a daily basis as a cafeteria, plus twice a week for ‘Formal Hall’ dining, and for one-off events, such as conferences and wedding ceremonies. The brief from the College was to restore the Hall, remaining faithful to the original architecture and finishes, while creating a contemporary lighting layout, suitable for various functions.

An arrangement of six LED track-mounted adjustable downlights, the Flos Solid Pure Spot, were positioned at high-level (on the apex of the trusses) to provide general illumination.

061

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PROJECT / TRINITY HALL, CAMBRIDGE, ENGLAND

The columns, either side of the main portrait of Sir Nathanael Lloyd - Master of Trinity Hall from 1710-1735, whose generosity was fundamental in improving the fabric of the College, including the extending of the Hall to its current size - are highlighted by mini-projectors, attached seamlessly to the Flos Squad LED system. Other details, such as the window alcoves and balcony window reveals, are uplighted by a continuous linear fluorescent system, carefully embedded into the windowsills.

At review stages, it was imperative to narrow the performance specification of products to be able to cost it, while ensuring that the visual impression of each treatment met the aspiration. A great deal of effort was made to ensure the quality and quantity of fittings needed fell within budget.

Ferrari explains: “Defending the designer specification and avoiding a flawed value engineering process is key to the success of any project. At Trinity Hall, our efforts on this front were supported by both the client and the manufacturers and suppliers of the fittings we specified.”

Once concept and costs were approved, the design was detailed and every treatment mocked up, before moving to the installation. Trinity Hall had an in-house project manager, who was extremely thorough, carefully overseeing the incorporation of the wiring and controls necessary for the contemporary light installation, making them disappear, seemingly effortlessly, into the architecture.

Last, but by no means least, commissioning was undertaken using a Hoare Lea Lighting CGI product, the LightSIM. This allowed Hoare Lea to create a virtual reproduction of the space, which in the case of the Trinity Hall Dining Hall, included a control breakdown, to enable the client to manipulate scenes remotely. Once the function scenes were selected by the client, these were programmed on site.

JAPANESE （ケンブリッジ大学の一部である） トリニティ・ ホール・カレッジのダイニングホールは、通常で はカフェテリアとして利用されていますが、二週 間に一度『フォーマル・ホール』 ダイニングで利 用され、 カンファレンスやウェディングセレモニ ーなどの特別なイベントでも使用されています。 カレッジの外観がホールにも復元されていて、 本来の建築の状態や仕上げに忠実に残され ていますが、 同時に現代的な照明が、様々な役 割を果たす上で最適な状態にレイアウトされて います ホーア・リー・ライトニングによる照明デザインに は、 （トラス屋根のトップなど）高いところに取り 付けられた、全般照明としての機能を果たすト ラック状に搭載された調整可能な六つのLED ダウンライトも含まれています。 暖炉や装飾壁は、 高いところにあるトラック状ラ イトに取り付けられたプロジェクターでライトア

Top left Paintings have a dedicated LED system by TM Lighting, tailored to the dimensions of each artwork.

The distribution and angle at which the light hits the canvas was carefully designed and a high, full-colour spectrum 95+ CRI LED was used to achieve the correct quality of light.

Top right The fireplace and reredos are illuminated by Flos projectors attached to the track system at highlevel, with fittings visually matching the downlights used for general lighting.

ップされ、全般照明として使われるダウンライト と視覚的にマッチするようになっています。 採用されたスキームは、厳格に管理された環 境/タスク型照明バックドロップのコンセプトを 基調にしています。 これによりホーア・リー・ライ トニングは、 それぞれの建築要素にハイライト をあてる 『ダーク・キャンバス』 をつくりだし、 同時 に可能な限り電力消費を抑えることが出来る 状態を実現出来ています。絵画には、各アート ワークの其々の多面性にあわせた専用LEDシ ステムが設営されています。

CHINESE 剑桥大学三一学院的餐厅 (Dining Hall) 每天 都作为食堂使用，同时每周还有两次作为举 办“正式晚宴”以及举行会议和结婚仪式等 活动的场所。学院决定重建餐厅，在忠于原 架构和表面装饰的基础上，形成一种适合不 同功能的现代化照明效果。 照明设计由 Hoare Lea Lighting 公司负责，

他们安装了六盏轨道式可调节 LED 筒灯， 灯具安装位置很高（位于屋架顶端），提供 全面照明。 安装在高处轨道系统上的投影机为壁炉和屏 风提供照明，用于全面照明的筒灯则搭配了 一些显眼的配件。 这种受到认可的设计方案基于一种高度受 控环境/工作照明背景的理念，这种理念促 使 Hoare Lea Lighting 公司设计出“黑色背 景”，在此基础上突出个性化的建筑元素， 并尽可能地降低耗电量。绘画作品拥有专门 的 LED 系统，以满足每件艺术品的不同尺 寸要求。

FRANÇAIS La salle à manger du Trinity Hall College de l’Université de Cambridge est utilisée au quotidien comme cafétéria et deux fois par semaine pour des repas formels, ainsi que pour des conférences et des mariages.

Le cahier des charges du Collège exigeait que le lieu

soit restauré en restant fidèle à l’architecture et aux décors d’origine, tout en proposant un éclairage contemporain, adapté aux différents événements.

Le cabinet Hoare Lea Lighting a imaginé un système d’éclairage comprenant six projecteurs encastrés à diodes électroluminescentes réglables et montés sur un rail, placé très haut sur les poutres du toit, afin d’éclairer tout l’agencement.

La cheminée et les retables sont éclairés par des spots accrochés à un système de rails placé en hauteur dans des caissons semblables à ceux des projecteurs encastrés.

Le projet demandé devait comporter un éclairage ambiant et environnant hautement contrôlé, ce qui a permis à Hoare Lea Lighting d’utiliser une « toile noire » sur laquelle faire ressortir les éléments architecturaux individuels, tout en utilisant une consommation électrique très faible. Un système de DEL spécifique, adapté aux dimensions de chaque œuvre, est utilisé pour les tableaux.

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PROJECT / TRINITY HALL, CAMBRIDGE, ENGLAND

ENERGY EFFICIENCY Energy use was a central consideration throughout the design process.

The performance of all specified fittings is more than 85 lumens per circuit watt. This gives a total load of 5W/m2 for ambient lighting, and a total of 2415W to run all feature lighting at full output.

The energy used to light all sixteen paintings is 90.8W, giving an average of 5.6W for each artwork. All fittings are linked to a MODE architectural control lighting system.

This manages the different scene settings programmed, making the best use of the lighting and avoiding unnecessary energy use.

“It is fascinating to bring a listed building back to life by tailoring the latest technology,” says Ferrari. “But to have that new technology available as a tool at the service

DEUTSCH Der Speisesaal des Trinity Hall College (Teil der Cambridge University) wird tagtäglich als Cafeteria und zweimal pro Woche für ‘Formal Hall’-Dining benutzt, sowie für Veranstaltungen wie Konferenzen und Hochzeiten. Der Auftrag des Colleges sah die Restaurierung des Saals vor, wobei die ursprüngliche Architektur und Ausführung zu bewahren war. Gleichzeitig sollte aber eine moderne Beleuchtungsanordnung geschaffen werden, die für zahlreiche Zwecke geeignet ist.

Das Beleuchtungsdesign von Hoare Lea Lighting umfasst eine Anordnung von sechs auf Schienen befestigten, verstellbaren LED-Deckenstrahlern, die weit oben platziert sind (ganz oben im Dachstuhl), um eine Allgemeinbeleuchtung bereitzustellen.

Die Feuerstelle und das Retabel werden durch Projektoren beleuchtet, die an das Schienensystem hoch oben befestigt sind. Die Armaturen sind visuell auf die Deckenstrahler, die für die Allgemeinbeleuchtung benutzt werden, abgestimmt.

of the designer is a unique experience.”

As Glen Sharp, Junior Bursar at Trinity Hall, notes, the entire process from planning through to the completed scheme proved very successful. “We knew how we wanted the space to appear, but articulating this vision was challenging,” he says. “Hoare Lea Lighting’s 3D capability was very important: by modelling the space and showing us what it would look like, they provided vital reassurance to the team.

“This type of project is revisited only every 25 years or so, therefore getting it right is crucial. Hoare Lea Lighting’s attention to detail and the sensitivity shown to this beautiful graded building has resulted in a glorious space, which is both easy to control and easy to use. Everyone loves it!” www.hoarelealighting.com

Der genehmigte Entwurf basierte auf das Konzept einer streng kontrollierten Beleuchtungskulisse je nach Umgebung und Anwendung. Somit konnte Hoare Lea Lighting eine ‘dunkle Leinwand’ haben, auf der architektonische Elemente individuell betont werden können, mit einem möglichst geringen Stromverbrauch Die Gemälde haben ein spezifisches LED-System, das auf die Abmessungen von jedem Kunstwerk zugeschnitten ist.

ITALIANO La sala da pranzo del Trinity Hall College (parte dell’Università di Cambridge) viene utilizzata quotidianamente come caffetteria e due volte a settimana come “salone” per le cene più importanti e per gli eventi come conferenze e matrimoni. L’idea del College era quella di ripristinare la Hall, rimanendo fedele all’architettura e alle finiture originali e creare un layout di illuminazione contemporanea adatto per le varie occasioni.

PROJECT DETAILS Trinity Hall, Cambridge, UK Client: Trinity Hall, Cambridge Lighting Design: Hoare Lea Lighting

LIGHTING SPECIFIED Atrium – Flos (LED downlights / Track systems / LED strips / Mini LED projectors / fluorescent) Mackwell – emergency lighting MODE Lighting – controls TM Lighting – picture lights

Il design luci di Hoare Lea Lighting comprende un sistema di sei faretti a LED orientabili su binario e posizionati in alto (all’apice delle capriate del tetto) per fornire l’illuminazione generale.

Il camino ed il dossale sono illuminati da proiettori collegati in alto al sistema binario, con finiture visivamente posizionate in corrispondenza dei faretti utilizzati per l’illuminazione generale.

Questo schema si basava sul concetto di un ambiente altamente controllato / sfondo con lavoro di luci, che permetteva a Hoare Lea Lighting di avere una “tela scura” sulla quale evidenziare singolarmente gli elementi architettonici e con i più bassi livelli di consumo di energia possibili. I dipinti hanno un proprio sistema a LED su misura per le dimensioni di ogni opera d’arte.

ESPAÑOL El Comedor en el Trinity Hall College (parte de la Universidad de Cambridge) es utilizado a diario como cafetería, y dos veces por semana como Comedor For-

mal y para eventos, como conferencias y ceremonias de matrimonios. Las instrucciones de la Universidad fueron las de restaurar el Hall, permaneciendo fieles a la arquitectura y terminaciones originales, a la vez que se creaba una disposición de iluminación contemporánea, ideal para ser utilizada con varias funciones.

El diseño de iluminación de Hoare Lea Lighting incluye un arreglo de seis luces LED montadas, ajustables, ubicadas en el nivel superior (en la cima de las cerchas del techo) para ofrecer una iluminación general.

El hogar y el retablo están iluminados por medio de proyectores adjuntos en la parte superior, encajando visualmente con las luces orientadas hacia abajo utilizadas para la iluminación general.

El proyecto aprobado estaba basado en el concepto de un fondo de iluminación de ambiente altamente controlado, lo que le permitió a Hoare Lea Lighting tener un lienzo oscuro sobre el cual destacar los elementos arquitectónicos individualmente y con los niveles más bajos de consumo de energía posible. Las pinturas tienen un sistema de LED dedicado, hecho a medida de cada obra de arte.

Photography: James Newton

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PROJECT / PEROT MUSEUM OF NATURE & SCIENCE, DALLAS, USA

Pictures: Iwan Baan

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DONâ&#x20AC;&#x2122;T MESS WITH TEXAS The Perot Museum is the latest in a string of new architectural gems to appear in Dallas. The city, which is going through something of a cultural boom, has seen new buildings constructed by the likes of Foster+Partners, Rem Koolhaas and Renzo Piano in just five years. When tasked with designing a museum named for and inspired by the pioneering spirit of Ross Perot, Morphosis Architects and the Office for Visual Interaction looked to match the architectural greats that now call Dallas home.

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PROJECT / PEROT MUSEUM OF NATURE & SCIENCE, DALLAS, USA

The Perot Museum of Nature and Science in uptown Dallas is yet another addition to the thriving museum and gallery scene in the Lone Star State.

The museum was named for Ross Perot, the maverick Texan billionaire and twice failed presidential candidate (1992 and 1996 in case you wondered) who once famously, in an act that could either be summed up as a perfect conclusion or a historical dereliction, bought a copy of the Magna Carta, because he could, and later sold it, donating all the money to educational causes in Texas. Who would have thought that the great charter of English liberty, signed by King John and his barons at Runnymede, would go on to fund good causes in rural Texas? Certainly not them and certainly not the good people of Texas.

The museum is a fine testament to the Perot family’s long standing commitment to education and takes the form of a cube shaped structure that undulates dramatically over an impressive entrance plaza. Pritzker Prize Laureate and Morphosis Architects founder Thom Mayne was responsible for the design of the building and the architectural lighting design was produced by the New York based Office For Visual Interaction (OVI).

The undulating landscape that the building nestles in means that, to the visitor, the structure is always revealing new sides of itself. As people wander around the site, they undertake an exploration of unexpected spatial relationships which are evocative of the spirit of discovery that the museum promotes.

Another overarching theme of the site’s design is the juxtaposition between natural and man-made environments and the building’s architectural lighting has been developed with these themes in mind, allowing the creation of an iconic nighttime identity.

The look of the museum is, in many regards, inspired by the spurt of new public buildings that have appeared in Dallas during the last four years designed by the likes of Foster+Partners, Rem Koolhaas, and Renzo Piano.

“What the wave of construction meant for us as lighting designers,” says Jean Sundin, who, together with Enrique Peiniger cofounded OVI in 1997, “was that a thorough study of context was required as to where our work would fit into the greater cultural landscape of Dallas. Then more specifically, we needed to come up with a lighting strategy that did justice to the building as a stand-alone architectural achievement.

“We needed to create something that would not only be appealing to our design partners

The atrium of the Perot Museum in Dallas, Texas, the crevice lighting allows the warm interior lighting to burst outwards, creating a warm glow around the building.

LIGHT DEFINES THE EXPERIENCE

US National Archives and Records Administration Washington, DC

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

pub-mondo-arc-national-archive.indd 1

2014-08-04 4:26 PM

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PROJECT / PEROT MUSEUM OF NATURE & SCIENCE, DALLAS, USA

The duality of style and playfulness coexist in the Perot Museum lobby. Edison Price Lighting modified ‘Spredlite’ with 39W MH PAR30 3000K was used to wallgraze the atrium, while Neo-Ray Lighting ‘Straight & Narrow’ 3000K was also used in the lobby alongside a 45W 5000K LED light line for the escalator.

at Morphosis, but something that would also be appealing to a ten-year-old child coming to see their first T-Rex skeleton.

“The lobby is one instance where you see this duality play out; the exposed bands of light above the metal mesh ceiling complement the refined industrial style of the architecture, while the intentionally dispersed lighting layout adds a welcome sense of playfulness.”

At night, the glowing atrium core visually bursts through the crevice-like glazing of the façade giving the building a warm look when viewed from afar, while acting to accentuate the building’s sharp, sculpted form.

Defined vertical surfaces within the multilayered atrium design are more intensely illuminated, while the exterior façades glow softly from Sill floodlights positioned in the surrounding landscape.

“When you visit the museum, you can really

JAPANESE 夜間に白熱光を放つアトリウムのコアは、 ペロ ットミュージアムのファサードのクレバスの様 な光沢処理から、 突き破って出るように見えま す。 これは、遠くから見たときにビル全体に温 かい印象を与え、構造物のシャープで彫刻的 なフォームを強調しています。複数の層になっ ているアトリウム内のはっきりとした水平な表 面は、 より強烈に光を放っていますが、外部フ ァサードは周辺のランドスケープに位置する フットライトからの光でやさしく光っています。 連続フロー型エスカレーターがファサードに 設営され、中央の光のラインで仕上げられて おり、上へ向かう感覚が強調されています。 エ ントランス階の光沢処理の内部照明により、 建築物全体の浮遊感や、無重力、浮いたキュ ーブ等の印象が与えられます。色温度は遊び 心に満ちた方法で測定され、建物全体の印

see and experience the interlocking series of spatial volumes that make the interior so exciting,” comments Jean Sundin. “Part of our design challenge was to visualise the relationship between these juxtaposed volumes before they were built, to make the mental translation from 2D to 3D and to create a cohesive lighting scheme that works from every angle. This is particularly evident in the atrium, where lighting ties together the multi-story glowing volume that contributes to the overall nighttime identity of the project. Additionally, we have lines of light under the bridges, crisscrossing at multiple points and creating dynamic and unique views from every vantage point.”

A continuous-flow escalator emerges from the façade and is treated with a central luminous light line, reinforcing a sense of upward movement within the structure.

Colour temperatures are playfully

象的なナイトタイムの特徴を強調しています。 メインロビーの照明は建築的なファサードの 視覚的な反響を表します。異なった長さの光 のラインは 『縫い目』 状にアレンジされ、 光が集 中しているエリアは焦点部分に向かって密集 して行き、 これら光のラインのトップでは、 ビジ ターに博物館の中を案内し、直観的に道がわ かるシステムを作りだす、 環境ライトレベルとな っています。

CHINESE 夜晚，佩洛特博物馆 ( Perot Museum) 的 中庭灯光闪烁，照耀着整个 V 型外墙，让 建筑物远远望去就有温暖之感，同时灯光 也突出了建筑结构的棱角和雕塑般的层次 与纹路。多层中庭设计中的垂直表面轮廓 分明，显得尤为光彩夺目，在周围景观中 的泛光灯照耀下，外幕墙反射着柔和的光 芒。一座不断运动的自动扶梯从幕墙中浮

calibrated to enhance the building’s distinctive nighttime identity. Instead of employing one colour temperature throughout the interior warmer colours can be seen visually contrasting against the cooler exterior escalator, emphasising the dynamic signature of the building. Rather than trying to achieve this effect using ‘colored’ light, the aim was to showcase the range of ‘natural’ white light by using colour temperatures of 6500K at the main escalator and 3000K in the central atrium. The playful, yet subtle result is in keeping with the museum’s dynamic spatial juxtapositions and creative use of materials.

In the main lobby the lighting is a visual echo of the architectural façades. Light lines of different lengths are arranged in a ‘stitch-pattern’ that are suspended above the undulating metal mesh, continuing the sense of movement that complements the

现，它位于照明光线的中心位置，增强了 建筑物向上的动感。入口层玻璃幕墙内的 灯光似乎让整栋建筑都漂浮起来，让它看 来就像一个克服了地心引力、漂浮在空中 的立方体。色温也经过了有趣的校正，以 突出建筑物在夜间的独特轮廓。主厅的灯 光好似建筑外墙的视觉回应。不同长度的 光线以“插缝形式”交错分布，灯具密集 的区域正是建筑的中心区域，除此之外， 这些光线还提供环境光照，，引导游客在 博物馆中穿行，成为一种直观的导航系 统。

FRANÇAIS La nuit, on peut apercevoir l’atrium lumineux du Musée Perot à travers le vitrage craquelé de la façade. Vu de loin, ceci confère au bâtiment un aspect chaleureux, tout en accentuant la forme marquée de la structure. Des surfaces verticales,

rangées au sein de la conception multicouche de l’atrium sont dynamiquement éclairées, tandis que les façades extérieures le sont légèrement par des projecteurs disposés dans le paysage environnant.

Un escalier roulant en flux continu émerge de la façade et une ligne lumineuse éclaire son centre, en renforçant ainsi le mouvement vers le haut. Au niveau de l’entrée, la lueur intérieure venant du toit transparent donne l’impression que le bâtiment est un cube qui flotte et défie la gravité. Les variations de couleurs sont ludiques afin de renforcer l’identité nocturne caractéristique du musée. Dans le hall principal, l’éclairage fait écho au visuel des façades architecturales. Des lignes lumineuses de différentes longueurs sont disposées en « points de croix » et des luminaires sont regroupés en des endroits bien précis au-dessus de ces lignes lumineuses fournissant ainsi des degrés d’éclairage ambiant qui promène les visiteurs dans tout le musée, leur créant un parcours de visite intuitif.

The Perot Museum of Nature and Science Dallas TX

Architecture Morphosis Architects New York NY Lighting Design Office for Visual Interaction New York NY Photography Mark Knight Photography Austin TX

sill-lighting.com

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PROJECT / PEROT MUSEUM OF NATURE & SCIENCE, DALLAS, USA

A lecture theatre that can be found alongside the visitor attractions at the Perot Museum. Electrix modified L100 series LED 3000K were used to in the coves of the theatre’s impressive ceiling.

PROJECT DETAILS Perot Museum of Nature & Science, Dallas, US Client: Perot Museum of Nature & Science Architect: Thom Mayne Morphosis Architects Lighting Design: Office for Visual Interaction (OVI)

LIGHTING SPECIFIED Sill ‘Pro21’ 150W MH 4200K floodlights for exterior facades Edison Price Lighting modified ‘Spredlite’ with 39W MH PAR30 3000K for atrium wallgrazing Electrix modified ‘L100 series’ LED 3000K for theatre coves Neo-Ray Lighting ‘Straight & Narrow’ 3000K for lobby and 45W 5000K LED for main escalator light line Lumenpulse ‘Lumendome’ 25W LED 3000K for interior pods Targetti ‘Cool Touch’ 39W MH uplights at bamboo wall Linear Lighting ‘Recessed RC23’ and ‘Pendant I-Beam’ 3000K for offices

refined industrial style of the architecture.

Denser fields of luminaires are clustered towards focal areas that require higher light levels, while dispersed patterns are used to illuminate circulation areas.

Oversized pod-shaped forms are transformed into crystalline lanterns leading visitors through transition zones, while light and shadow articulate architectural elements and focal points of various scales throughout the building. The atrium walls and façades are evenly lit to express their spatial volume and provide visual anchor points for key spaces.

Luminous lines provide ambient light levels and draw visitors throughout the museum, creating an intuitive way-finding system, which the escalators, bridges, and stairways dramatically penetrate through.

In the lecture theatre, a critical plank in the museum’s educational program, fluid light lines form unexpected waves of light and shadow, evoking a sense of discovery and insight for visitors and pupils.

Lighting such an intricately designed

DEUTSCH Nachts bricht ein glühender Atriumkern visuell durch die spaltengleiche Verglasung der Fassade des Perot Museums, verleiht dem Gebäude aus der Ferne eine warme Ausstrahlung und betont gleichzeitig die kantige, skulpturale Form der Struktur. Abgesteckte vertikale Flächen innerhalb des mehrschichtigen Atriumdesigns werden intensiver beleuchtet, während die Außenfassaden sanft durch Scheinwerfer erglühen, die in der umgebenden Landschaft platziert sind. Ein Rolltreppe im Dauerbetrieb taucht aus der Fassade auf und wird mit einer zentralen, leuchtenden Lichtlinie behandelt, was die Wahrnehmung der Aufwärtsbewegung verstärkt. Dank des inneren Glanzes der Verglasung im Eingangsniveau scheint das Gebäude zu schweben und verleiht ein Gefühl von Schwerelosigkeit, eines schwimmenden Würfels Die Farbtemperaturen wurden spielerisch kalibriert, um die markante Identität des Gebäudes nachts zu unterstreichen. In der Haupthalle ist die Beleuchtung ein

structure, did, of course, pose its challenges to the design teams working on the project, but they were skillfully overcome.

“The start of this project was a key time in the architectural lighting design industry,” says Jean Sundin, “because LED luminaires were getting to the point that lighting designers saw the advantages to specifying them, but quality luminaires were scarce and clients were naturally very wary of the initial hardware costs and of the overall new-ness of the technology, thus it was initially decided that we would proceed with metal halide and fluorescent options.

We committed to these light sources on paper, all the while designing in such a way that LED lighting could, conceivably, be substituted at some point in the future.

The technology was improving so rapidly that by the time the years-long design process ran its course, price and quality were finally both appropriate in order to justify a partial-LED scheme. When it came time to purchase the luminaires for the

visuelles Echo der architektonischen Fassade. Unterschiedlich lange Lichtlinien sind in einem ‘Stichmuster’ angeordnet und dichtere Leuchtenfelder sind in Kernbereichen verteilt, darüber verschaffen Leuchtlinien Umgebungslichtstufen, die Besucher durch das Museum ziehen und ein intuitives Wegleitsystem schaffen.

ITALIANO Di notte, il centro di un atrio luminoso irrompe visivamente attraverso la vetrina/fessura della facciata del Perot Museum, conferendo all’edificio un aspetto caldo, se visto da lontano, pur agendo per accentuare la forma affilata e scolpita della struttura. Le definite superfici verticali all’interno del design dell’ atrio multistrato sono più intensamente illuminate, mentre le facciate esterne sono leggermente illuminate da fari posizionati nel paesaggio circostante. Una scala mobile in continuo movimento emerge dalla facciata ed è caratterizzata da una linea luminosa centrale, rafforzando il senso di movimento verso l’alto. Il ba-

museum of Nature and Science, it made sense from the client’s perspective to go for it. Because we had been preparing ourselves for this possibility, the transition went smoothly and we delivered a stateof-the-art building on time and within budget. It was a lesson we learned with the competition and subsequent implementation of the New York City LED Streetlight: work with what’s available now but always plan for the future.”

The educational and aspirational ideals that form the core of the Perot Museum’s reason for existence mean that it is an organisation with the future very much on its mind. The forward looking architecture, which aims to represent the museum’s creed in physical form, supported by a cutting edge lighting design, mean that the Perot Museum’s home is entirely representative of its mission. www.oviinc.com www.morphosis.com

gliore interno dalla vetrata al piano di ingresso permette alla costruzione di librarsi e dà l’impressione che sfida la gravità come un cubo galleggiante. Le temperature del colore sono giocosamente calibrate per migliorare la distintiva identità notturna dell’edificio. Nella hall principale, l’illuminazione è un’ eco visiva delle facciate architettoniche. Linee di luce di diverse lunghezze sono disposte in un “punto croce” ed i campi più densi di luminarie sono concentrati verso le zone focali; in cima a queste linee luminose troviamo livelli di luce ambientale che attirano visitatori in tutto il museo, creando un sistema a senso unico di accertamento intuitivo.

ESPAÑOL Por la noche, un resplandeciente patio central estalla visualmente a través del vidriado de tipo agrietado de la fachada del Museo Perot, dándole al edificio un aspecto cálido cuando se lo observa desde lejos, a la vez que funciona acentuando la forma escultural y afilada de la estructura. Las definidas superficies ver-

ticales dentro del diseño multidimensional del patio están iluminadas más intensamente, mientras que las fachadas exteriores resplandecen suavemente desde reflectores ubicados en el paisaje de alrededor.

Una escalera mecánica de funcionamiento continuo emerge desde la fachada y presenta una línea central luminosa, reforzando el sentido del movimiento ascendente. El resplandor interior desde el vidriado en la entrada, le permite al edificio cernirse y da la impresión de un desafío a la gravedad, de un cubo flotante. Las temperaturas del color están alegremente calibradas para resaltar la identidad distintiva del edificio durante la noche. En el hall principal, la iluminación es un eco visual de las fachadas arquitectónicas. Las líneas de luces de diferentes extensiones que están arregladas formando un patrón y las luminarias más densas que están agrupadas hacia zonas focales, además de las líneas de luces, ofrecen niveles de luces ambientales que guían a los visitantes a lo largo del museo, creando un intuitivo sistema de orientación.

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A unique new eve nt from

featuring

Further details to be revealed...

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PROJECT / RIPLEY’S AQUARIUM, TORONTO, CANADA

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BELIEVE IT OR NOT...

Ripley’s Aquarium in Toronto is one of the largest indoor marine exhibits in the world and it is the first to feature tanks entirely lit with LED. Mulvey & Banani developed the first-of-its-kind lighting scheme that aims to create a theatrical visitor attraction while caring for the aquarium’s precious marine charges.

The Ripley’s Aquarium in Toronto sits just a few blocks away from the city’s famous CN Tower and is a formidable new addition to Toronto’s cavalcade of attractions.

The aquarium is large in scope, boasting a comprehensive marine collection in several aquatic exhibits and a dramatic under water tunnel. Overall the aquarium holds a massive 5.7 million litres of water, water which nearly 13,500 exotic sea and freshwater fish call home, making this something of a marine lovers jackpot.

When Toronto-based lighting designers and engineers, Mulvey & Banani, first began work on the project in 2010, LED technology had not yet advanced to offer alternates to the high wattage metal halide bulbs that are typically used in aquariums, so the original tank design was made up of metal halide sources.

Aquariums throughout North America have traditionally been lit with 150- and 250watt metal halide fixtures, which can cause a number of maintenance and operational issues.

“When the team at Mulvey approached us on this project, we knew LED would be a more effective option for what they wanted to accomplish. With the development of the technology over the course of the design phase, we were able to offer some exciting options for the team to test out,” says Nick Puopolo, Partner at Salex.

A challenge for the designers and a key goal for Ripley’s was to create a new aquarium environment that better represented the natural habitat of the tropical fish and plant life it was to play host to. With this in mind, and armed with the latest LED technology, the Mulvey & Banani design team headed to Gatlinburg, Tennessee to mock-up new lighting layouts on an existing Ripley’s aquarium.

The mock-ups allowed the team to test different luminaires over the tanks and determine which light source, beam spread and colour temperature would best suit the design. Different fixtures were installed and their ability to withstand the harsh saltwater conditions was tested.

For the aquarium’s large feature tanks, Mulvey+Banani chose marine-grade Lumenbeam XLarge luminaires, opting for tight, focused beams of lights (6° and 10° optics). The luminaires were mounted above the tank and then carefully aimed against the water at a shallow angle.

Through strategic placement and angling of the lighting fixtures, the designers were able to create visual effects in the tanks that would typically only be seen by a diver or snorkeler.

In the past, the light source of a tank

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PROJECT / RIPLEY’S AQUARIUM, TORONTO, CANADA

Pic: ©2014 Ripley’s Aquarium of Canada

Top Ray Bay features three distinct species of rays, working with grey animals on a grey background, the lighting design team wanted to punch up the colour in this tank and the light now reflects off the rocks to add a patterned visual for the audience. Above left Rainbow Reef shows tropical waters of the Indo-Pacific region RGB fixtures were used to brighten up and highlight the coloured coral. Above right For the media façade at the entrance of the gift shop, Traxon String RGB is installed behind Barrisol and displays media content in line with the aquatic theme.

would be directly above it representing the sun at the peak of day. The effects in the new aquarium mimic the sun rising and setting and allow for more dynamic visuals for aquarium visitors while also achieving better engagement from aquarium wildlife.

To light the aquarium’s large jelly fish tanks, Mulvey+Banani installed Lumenfacade colour changing luminaires on dry niche compartments in the tanks’ side windows.

Shining through the windows, the luminaires graze the jellyfish, bringing out unique features with every colour.

In the Canadian Waters Gallery an impressive backlit Barrisol ceiling made of PVC is a custom suspended architectural element. It is edge-lit with LED tape light

JAPANESE トロント市内にあるRipley’s Aquarium （リ プリー水族館） は世界最大の室内海洋展覧 施設で、全面的にLED照明が施されているタ ンクを初めて採用しました。水族館の大型機 能タンクのために、照明デザイナーのマルベ イ・アンド・バナーニが、海洋レベルに合わせ た、照射範囲が狭く、 フォーカスされた光（6° から 10°光学） が選択できる、 ルーメンビーム 超大型照明を採択しました。照明はタンクの 上部に置き、水面に対してきちんと鋭角に傾 け設営されます。明暗の調整がしっかりでき る照明により、水族館は生物のいきる自然環 境とのコネクションをより良好に構築すること ができます。水族館の大型クラゲ用タンクを ライトアップするために、 マルベイ・アンド・バ ナーニはタンクのサイドにある窓から入る、乾 燥ニッチコンパートメント上の光を変化させ

and track mounted wave lights were also used to mimic shimmering water.

The new luminaires provided a more natural colour temperature, some of the fish responded immediately and started swimming playfully within the beams of light.

“The marine biologists overseeing the testing commented that they had not seen the fish do that before,” says Paul Boken, Associate Lighting Designer, Mulvey & Banani.

The look of the gift shop was inspired by the Northern Lights, the night sky and flowing water. The media façade at the front of the shop features Traxon String RGB, installed behind Barrisol, and is used to display

るルーメンファサード色を採用しました。窓を 通って光る照明がクラゲをかすめて通り、 様々 なユニークな色彩をもたらします。全体を通じ て、 これら照明スキームはリプリーのエンター テイメント施設としてのブランドに現代的なひ ねりを与え、 同時に訪問客のアトラクションの ニーズと16,000の海洋生物のケアのバラン スを取っています。

CHINESE 多伦多瑞普利水族馆 (Ripley’s Aquarium) 是世界最大的室内海洋展览馆之一，也是 首个完全以发光二极管 (LED) 作为水箱照 明设备的水族馆。为了设计水族馆的大型 特色水箱，照明设计专家 Mulvey+Banani 公司选择了航海级的 LBX (LumenbeamXLarge) 大型照明设备，它能达到更强、更 集中的光束效果（6° 和 10° 透光度）

media content in support of the aquatic theme. Throughout the gift shop shelving is illuminated by Traxon Media Tube RGB. Controlled by an e:cue Lighting Control Engine fx (LCE-fx), six Butlers, and two Video Micro Converters (VMC), the lighting on the media façade works in tandem with the lighting on the display shelves inside the store to display the same content.

Additionally, the 2 DMX output ports from the LCE-fx control the theatrical lighting in the Main Entrance Ticketing Lobby, which highlights a custom sculpture by a local artist at the entrance to the aquarium.

Throughout the shop shelving is illuminated

by Traxon media tube Other benefits of the aquarium’s LED

。照明设备安装在水箱上方，以较小的角 度仔细地照射至水中。灯具可全面调光， 能让水族馆更好地建立与动物的自然环境 的联系。为了给水族馆的大型水母水箱照 明，Mulvey+Banani 在水箱侧窗的干燥小 隔间安装了 Lumen 表面变色灯具。灯光 穿过窗户，照射着水母，呈现出独一无二 的各色变换效果。总之，照明系统帮助瑞 普利水族馆树立现代化的娱乐品牌，同时 也满足了拥有 16,000 种海洋生物的旅游景 点的各类需求。

FRANÇAIS L’aquarium Ripleys de Toronto offre l’une des plus grandes expositions marine intérieures du monde. Il est aussi le premier aquarium équipé de réservoirs entièrement illuminés de DEL. Les concepteurs d’éclairage Mulvey + Banani ont choisi des lumi-

naires marins XL Lumenbeam qui créent des faisceaux de lumières resserrés et concentrés de 6° et 10° optiques pour les grands réservoirs de l’aquarium. Ces luminaires ont été installés au-dessus du réservoir et ensuite soigneusement orientés vers l’eau à un angle léger. Entièrement réglables, ils permettent de mieux reproduire le milieu naturel des animaux. Pour éclairer le grand aquarium des méduses, les spécialistes de Mulvey + Banani ont placé des lampes à couleur changeante Lumenfacade dans des compartiments étanches accrochés aux vitres latérales de l’aquarium. À travers les vitres, la lumière effleure les méduses, faisant ainsi ressortir leurs formes uniques et toutes leurs couleurs. Dans l’ensemble, le système d’éclairage donne une touche plus moderne à la marque de divertissement Ripleys et concilie les besoins de 16 000 animaux marins et ceux d’une attraction touristique.

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PROJECT / PROJECT / RIPLEY’S AQUARIUM, TORONTO, CANADA

PROJECT DETAILS Ripley’s Aquarium, Toronto, Canada Client: Ripley Entertainment Architect: B+H Architects Lighting Design: Mulvey & Banani

LIGHTING SPECIFIED TANKS Lumenpulse LBX 140W LED 6000k white flood lighting (mixture of six degree used for narrow beam highlighting and shimmering water effects and 10 degree fixtures) Lumenpulse Lumenfacade HO Linear LED RGB grazing luminaires ETC Source 4 140W LED RGB flood lighting narrow and wide beam for accent lighting; 150W Metal Halide ERS 19 degree beams used for shimmering effects BOCA flasher submersible underwater LED linear floods DRY SIDE EXHIBITION Altman ME3 23W LED 3000k ERS zoom track heads Altman MF3 23W LED 3000k flood track Precision Projection Systems LED wave light 10W LED Altman Spectra Par RGBA 50W LED RGBA floodlights Altman Spectra Par RGBA 50W LED 4000K white floodlights Strand Selicon Pacific 150W Metal Halide ERS LOBBY Lumenpulse RGB cove HO on top; regular output on bottom ETC source 4 Lustr+ LED ERS colour changing spots 40W LED downlighting within slots in ceiling CANADIAN WATERS GALLERY Barrisol ceiling GIFT SHOP Traxon String RGB Traxon Media Tube RGB e:cue Lighting Control Engine fx (LCE-fx) FAÇADE Martin Exterior 400 LED image projectors CONTROL DMX Strand Rack Palate

The backlit Barrisol ceiling in the Canadian Waters Gallery is made of PVC and is a custom suspended architectural element. It is edge-lit with LED light tape, while track-mounted wave lights mimic shimmering water.

fixtures include more control, a longer life, less maintenance and reduced heat on the mechanical systems. All the lighting is attached to a digital and addressable control board, similar to how lighting fixtures would be controlled in a theatre.

“The dimming of the LEDs provides us with the ability to gradually fade the lighting over the tanks, mimicking a more natural daily cycle for the animals. Like humans, the animals’ circadian rhythms require the same triggers that tell them when it’s time to wake up and when it’s time to sleep,”

DEUTSCH Das Ripley’s Aquarium in Toronto gehört weltweit zu den größten Indoor-Marineanlagen und ist das erste mit Becken, die komplett mit LED beleuchtet werden. Für die großen Becken des Aquariums haben die Beleuchtungsdesigner Mulvey+Banani marinetaugliche Lumenbeam XLarge Beleuchtungskörper ausgewählt und sich für enge, gebündelte Lichtstrahlen (6° und 10° Optik) entschieden. Die Beleuchtungskörper wurden über den Becken angebracht und dann vorsichtig in einem flachen Winkel gegen das Wasser ausgerichtet. Dank der komplett dimmbaren Beleuchtungskörper kann das Aquarium besser eine Verbindung mit der natürlichen Umgebung der Tiere aufbauen. Um die großen Quallenbecken des Aquariums zu beleuchten, hat Mulvey+Banani Lumenfacade farbverändernde Leuchten in trockenen Nischenräumen in den Seitenfenstern der Becken installiert. Die durch die Fenster scheinen-

concludes Boken.

Many of the Mulvey & Banani team come from a background in the theatre, an experience which served them well on this particular project. The designers, in innovative fashion, approached each tank as an individual stage within a larger show. The goal was to create a natural sense of depth, as if the visitor was looking into a much larger body of water. During the design phase, each of the tanks had a scale model developed the same way a set designer would produce one for a

den Leuchten streifen die Quallen und bringen mit jeder Farbe einzigartige Merkmale hervor. Zusammen genommen hilft das Beleuchtungskonzept, der Art an Unterhaltung des Ripley’s einen modernen Impuls zu verleihen und gleichzeitig die gegensätzlichen Bedürfnisse einer Besucherattraktion, die für 16.000 Meerestiere Sorge trägt, auszugleichen.

ITALIANO L’ acquario di Ripley a Toronto è una delle più grandi esposizioni marine al coperto del mondo ed è il primo a presentare le vasche interamente illuminate con dei LED. Per la grandezza delle vasche dell’acquario, i designer d’illuminazione Mulvey + Banani hanno scelto le luminarie Lumenbeam XLarge marine-grade, optando per degli stretti e concentrati fasci di luci (6° e 10° ottici). Le luminarie sono state montate sopra la vasca e poi accuratamente dirette contro l’acqua con un angolo basso. Le luci,

theatrical show. The finished museum, like any visitor attraction, is, in part, theatrical experience, an entertainment for holidaymakers and weekend tourists alike.

But this is a project with animal welfare at its centre and the lighting scheme utlises the latest technology to ensure the aquarium’s full time residents are comfortable. www.mbii.com www.bharchitects.com

completamente regolabili, consentono all’acquario di stabilire meglio un collegamento con gli ambienti naturali degli animali. Per illuminare le grandi vasche degli acquari delle meduse, Mulvey + Banani hanno installato un LED lineare (Lumenfacade) cambia colore sulle parti asciutte nelle finestre laterali della vasca. Splendendo attraverso le finestre, le luci sfiorano le meduse, mettendo in evidenza le caratteristiche uniche di ogni colore. Nel loro insieme, il sistema di illuminazione aiuta a dare un tocco moderno alla marca di intrattenimento Ripley, pur bilanciando le esigenze contrastanti dell’attrazione del visitatore per i 16.000 animali marini.

ESPAÑOL El Acuario Ripley en Toronto es una de las exposiciones marinas de interior más grandes del mundo y son las primeras en ofrecer tanques iluminados completamente con LED. Los diseñadores en ilumi-

nación, Mulvey+Banani, eligieron luminarias marinas Lumenbeam XLarge para los grandes tanques del acuario, y optaron por haces de luces enfocados y ajustados (ópticas de 6° y 10°). Las luminarias se montaron arriba del tanque apuntando cuidadosamente contra el agua en ángulo inclinado. Las mismas, que son completamente regulables, le permiten al acuario establecer una mejor conexión con los hábitats naturales de los animales. Para iluminar los grandes tanques de medusas del acuario, Mulvey+Banani instaló luminarias Lumenfacade, que cambian de color, en compartimentos de las ventanas laterales del tanque. Las luminarias rozan a las medusas brillando a través de las ventanas proporcionando características únicas con todos los colores. En conjunto, el proyecto de iluminación ayuda a darle una moderna vuelta de tuerca a la marca de entretenimientos Ripley, a la vez que se busca un equilibrio con las necesidades de la atracción de los visitantes cuidando de los 16.000 animales marinos.

Architect: Katerina Kazmazovskaya

Kolan Hospital | Architect: ZOOM TPU

www.barrisol.com Architect: Atelier 21

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PROJECT / RUE ROBERT DE FLERS, PARIS, FRANCE

THE PHASES OF AWAKENING The Rue Robert de Flers was a demure street in the most demure of Parisian neighborhoods, the 15th arrondessment. Roger Narboniâ&#x20AC;&#x2122;s Concepto Studio were commissioned to create a lighting scheme that would reinvent the neglected crosscut, developing, in assistance with LEC Lyon, an innovative lighting arrangement based upon biological rhythms.

081

The 15th arrondissement in Paris, in comparison with its bejeweled compatriots in other parts of the city, is something of a cultural wasteland. It has its defenders, some people even call it meditative, the residential and office blocks passing by in an unending grey smudge as you drive around the area in a taxi, the repetition lulling you into a suburban slumber.

The Rue Robert de Flers is a covered road and walkway that can be found in a wealthy portion of the 15th, running alongside the River Seine towards Beaugrenelle, a new shopping centre, the opening of which the new lighting was timed to coincide with.

The grey, unremarkable street makes a particularly unfitting monument to de Flers, one of Franceâ&#x20AC;&#x2122;s most lively playwrights.

As part of the areaâ&#x20AC;&#x2122;s renovation, the walkway was given a much needed facelift last year, with a new up-lighting scheme being developed to light the tunnel.

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PROJECT / RUE ROBERT DE FLERS, PARIS, FRANCE

Concepto, design veterans well used to creating lighting schemes in the French capital, developed an innovative lighting plan based upon human biological rhythms.

The lighting adapts to suit the time of day, progressing from sky blue in the morning to a warm white colour in the evening.

Roger Narboni’s Concepto lighting studio, fresh from developing a lighting scheme for the Tour Eqho in Paris’s La Défense, were commissioned to create the new scheme, while LEC Lyon provided the necessary technology.

Concepto developed a lighting scheme based on the human biological rhythm, the lighting adapting its intensity and colours to suit the time of day, making the tunnel less jarring for those who use it.

The design agency carried out a number of on-site tests to further research the use of colour and to define the best colours to use on the project.

JAPANESE Conceptoは、一日の時間帯に合わせた 明暗度や色合いを調整する照明である、 人体の生物学的リズムに基づいた照明ス キームの開発をおこないました。朝、 トンネ ルは、夜間の質の良い眠りの後の身体の 目覚めを促進するため選択されたスカイ ブルーに輝きます。夜になるとトンネルは、 温かくリラックスした雰囲気を促進するた め、温かい白い色にライトアップされます。 スカイブルーから暖かいホワイトへの色の 変化は、徐々に表れて行きますが、 この変 化はDMXコントロールシステムの使用に より可能になります。Conceptoとのコラボ レーションに取り組んでいるLEC Lyon は、 自社のLEDライトバーテクノロジーが 本プロジェクトに適し、最適な光源となる と考えました。LEC Ligny-5635ライトバ

In the morning the tunnel is lit in sky blue, a colour chosen because it helps to stimulate the phases of awakening the body goes through after a good night’s sleep.

The transition from sleep to wakefulness entails reduced awareness and performance, or sleep inertia as it is termed, which can differ in its effect depending on how abruptly a person wakes up. Studies into sleep inertia have suggested that exposure to blue enhanced white light after sleep can speed up the body’s recovery.

During the evening the tunnel is uplighted in a warm white colour because

ーは、 カスタマイズされた緑、青、温かい白 の特注のカラープロフィールを搭載し設営 されました。様々なコンクリート構造物のレ イアウトプランに適する様、 ライトバーは様 々なサイズで製造されています。バーはま たトンネルの中を通過する人々に見えない ような光源となるよう、本当の意味での溶 け込んだ照明として機能する様に作られ ています。

CHINESE Concepto 开发了一种基于人体生物节律 的照明系统，该系统能够在每天的不同 时间调整光线强度和颜色。早晨，整个 建筑通道都沉浸在天蓝色的光芒中，这 种颜色有助于刺激身体在一夜睡眠后恢 复活力。夜晚，暖白色灯光从上方进入 通道，之所以选择白色，是因为它能营 造出温暖轻松的氛围。从天蓝色过渡到

of the warm and relaxing atmosphere it encourages. The colour transition from sky blue to warm white is subtle and gradual, a transition that is enabled by the use of a DMX control system.

“This is the first time that we have acheived this type of lighting,” says Floerence Serre from the Concepto agency, “the lighting outlines the stages of the day and the lighting develops from a stimulating light first thing in the morning, to a warm light in the evening.”

LEC Lyon, working in cooperation with Concepto, decided that their LED lightbar technology would be the best luminaire to

暖白色是渐进式的微妙过程，这种过渡 采用 DMX 控制系统实现。 与 Concepto 合作的 LEC Lyon 认为， 其 LED 灯条技术是适合该项目的最佳 照明设备。LEC Ligny-5635 灯条能以 定制的色彩种类进行配备和安装，可以 根据要求做成绿色、蓝色和暖白色。灯 条制作成多种尺寸，以适应具体架构的 安装计划。灯条也通过设计施工，提供 真正的照明集成，确保人们在通过建筑 通道时不会看到灯光设备。

FRANÇAIS L’agence Concepto a mis au point un système d’éclairage basé sur le rythme biologique humain, ajustant l’intensité des couleurs en fonction de l’heure du jour. Dans la matinée, le tunnel s’éclaire d’un bleu ciel, choisi parce qu’il contribue à stimuler les phases d’éveil du corps

après une bonne nuit de sommeil. Au cours de la soirée, le tunnel est inondé d’un blanc chaud en raison de l’atmosphère chaleureuse et relaxante qu’il favorise. La transition du bleu ciel au blanc chaud est subtile et progressive grâce au système de contrôle DMX. La société LEC Lyon, travaillant en collaboration avec l’agence Concepto, décida que leur technologie de guidage à DEL était le meilleur type d’éclairage pour ce projet. La barre lumineuse Ligny-5635 de LEC a été équipée d’une gamme de couleurs choisie sur mesure, personnalisée en vert, bleu et blanc chaud. Ces suspensions lumineuses ont été fabriquées en plusieurs tailles afin de s’adapter à la structure en béton. Également conçues pour offrir une véritable intégration de l’éclairage, les lampes restent invisibles pour les personnes passant par le tunnel.

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PROJECT / RUE ROBERT DE FLERS, PARIS, FRANCE

LEC Lyon worked closely with Concepto on the Rue Robert de Flers, providing the Ligny-5635 for use in the project. The lightbars were created with a bespoke colour profile installed, customised in green, blue and warm white. Schreder also provided pedestrian suspended luminaires for use in the tunnel space.

deal with the different demands the project placed on the lighting, due to their ability to allow the emission of multiple colours from a relatively small fixture.

The LEC Ligny-5635 lightbar was equipped and installed with a bespoke colour profile, customised in green, blue and warm white, as opposed to the standard RGB colour palette. The lightbar was also created to emit an extensive beam of light, guaranteeing homogeneous colours.

“We used the LED lightbars because they could easily be adjusted in length,” commented Virginie Carreno from the Concepto agency. “They allowed for an accurate lighting outcome and smooth colour alternatives and their long-lasting life of at least 15 years also acted in their favour.”

The lightbars were manufactured in multiple sizes in order to fit the layout plan of the concrete structure. The bars were also engineered to provide genuine lighting integration, ensuring that the luminaires remain invisible to people passing through

DEUTSCH Concepto entwickelte ein Beleuchtungskonzept, das auf den biologischen Rhythmus des Menschen beruht. Die Beleuchtung passt ihre Intensität und Farben je nach Tageszeit an. Morgens wird der Tunnel himmelblau beleuchtet, einer Farbe, die ausgewählt wurde, weil sie die Stimulierung der Aufwachphasen unterstützt, die der Körper nach einem guten Nachtschlaf durchmacht.

Abends wird der Tunnel in einer warmen weißen Farbe wegen der warmen und entspannenden Atmosphäre, die dadurch gefördert wird, ausgeleuchtet. Der Farbverlauf von Himmelblau zu einem warmen Weiß ist subtil und erfolgt stufenweise, ein Übergang, der durch die Verwendung eines DMX Steuersystems ermöglicht wird. LEC Lyon, die mit Concepto zusammengearbeitet haben, haben beschlossen, dass ihre LED Lightbar Technologie für die Beleuchtung dieses Projekts am bestens geeignet ist. Die LEC Ligny-5635 Lightbar wurde mit einem maßgeschneiderten Farbprofil mit

the tunnel, this was achieved by positioning the equipment behind aluminum covers.

Schreder also developed a suspended luminaire especially for the project.

The fixture is a declination of the Phylos pedestrian luminous column range that Roger Narboni designed for Schreder some years ago and the fixtures have been placed on both sides of the street in front of the residential buildings. They were designed to create a lounge style ambiance on the street and were an alternative to proposing a more basic blend of functional pedestrian lighting.

“Residents have seen their neighbourhood change instantly,” says Karine Bonnefoy, the official responsible for roads in the 7th and 15th districts at the Ville de Paris. “Prior to this project residents simply did not want to use the street, so the feedback from this project has been very positive, especially given that the lighting was unveiled to coincide with the opening of the new shopping centre. District officials now want to apply the lighting scheme to the rest of

Grün, Blau und Warmweiß ausgestattet und installiert.

Die Lightbars wurden in mehreren Größen hergestellt, damit sie an den Lageplan der Betonstruktur angepasst werden konnten. Die Leisten wurden ebenfalls so entwickelt, dass sie eine authentische Leuchtenintegration verschaffen und somit gewährleisten, dass die Beleuchtungskörper für die Benutzer des Tunnels unsichtbar bleiben.

ITALIANO Concepto ha sviluppato un sistema di illuminazione basato sul ritmo biologico umano con un’ illuminazione che adatta la sua intensità e ed i suoi colori a seconda dell’ora del giorno. Al mattino il tunnel è illuminato nel cielo blu, un colore scelto perché aiuta a stimolare le fasi del risveglio attraverso le quali passa il corpo dopo il sonno notturno. Durante la serata il tunnel è illuminato in alto da un colore bianco caldo proprio per l’atmosfera calda e rilassante che questo colore

the street. Nothing has been signed yet, but we are optimistic that we will be able to extend this type of lighting elsewhere in the city.”

The history of Paris is one of continuous reinvention and revision and the updating of Rue Robert de Flers is a compact mirroring of this story. The unimpressive road, once avoided by residents rather than enjoyed, now has a refreshed feel and a talking point lighting scheme to boot. If the city authorities carry on like this then the 15th arrondissement could well become a byword for civic surprise rather than suburban practicality. www.lec.fr

PROJECT DETAILS Rue Robert de Flers, Paris, France Client: Ville de Paris Lighting Design: Concepto Lighting Specified: LEC Lyon LEC Ligny - 5635 lightbar

favorisce. La transizione dal colore blu cielo al bianco caldo è delicata e graduale ed è resa possibile grazie all’uso di un sistema di controllo DMX. LEC Lyon, lavorando in collaborazione con Concepto, ha deciso che la loro tecnologia di barre luci a LED sarebbe stata la luminaria perfetta per questo progetto. La barra luci LEC Ligny-5635 è stata dotata e installata con un profilo di colore su misura, personalizzato in verde, blu e bianco caldo. Le barre luci sono state fabbricate in più dimensioni per adattarsi alla planimetria della struttura in cemento. Le barre inoltre sono state progettate per fornire una vera integrazione di luci, in modo che le luminarie rimangano invisibili a chi passa attraverso il tunnel.

ESPAÑOL Concepto desarrolló un proyecto de iluminación basado en el ritmo biológico humano, con una iluminación que adapta su intensidad y colores para encajar en cada

momento del día. Por la mañana, el túnel está iluminado en azul cielo, color elegido porque ayuda a estimular las fases del despertar del cuerpo luego de una buena noche de descanso. Por la tarde, el túnel se ilumina con una luz blanca cálida debido a que genera una atmósfera cálida y relajante. La transición de color entre el azul cielo y el blanco cálido es sutil y gradual, una transición que se lleva a cabo utilizando un sistema de control DMX. LEC Lyon, que trabajó en colaboración con Concepto, decidió que su tecnología de barra de luces LED serían la mejor opción para el proyecto. La barra de luces LEC Ligny-5635 fue equipada e instalada con un perfil de color a medida, en verde, azul y blanco cálido.

Las barras fueron fabricadas en varios tamaños para que pudieran encajar en la disposición de la estructura de concreto. Las mismas también fueron diseñadas para ofrecer una integración de iluminación genuina, asegurándose que las luminarias permanezcan invisibles ante los ojos de quienes atraviesan el túnel.

LED EXPERTISE SINCE 1977

Town hall of Istres, South of France In use : 9 LED lightbars 5760-Passy of 1-meter long Specifier: Atelier Roland Jeol / Architect: Michel Vallière/ Photo credit: LEC

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PROJECT / SCIENCE MUSEUM, LONDON, UK

HIGH SPEED SCIENCE

Lighting design practice Studio ZNA was drafted in on two new installations for London’s popular Science Museum: one permanent, one peripatetic, both recreations of high speed circuits, given a theatrical scheme.

London’s Science Museum sits among the giants of Exhibition Road. Huddled alongside the V&A and Natural History Museum, it forms part of a tourist triumvirate that together pull millions of visitors to South Kensington each year.

Last year, over three million of these walked through the doors of the Science Museum, drawn in no small part by the powerful presence of interactive multi-media and immersive lighting schemes, engaging and enthusing visitors of all ages. Following in this vein, and as part of a programme of constant evolution, the museum’s design team brought in lighting design practice Studio ZNA to work on two new features: a permanent bicycle-themed ceiling display for the main entrance and a temporary exhibition exploring the work of the CERN particle physics laboratory in Geneva.

BICYCLE TOUR The new bicycle feature is one element of a refreshed entrance hall, part of a masterplan to improve visitor experiences throughout the site. The installation, entitled Bicycle Tour, takes a small cross section of vintage pieces from the museum’s extensive archive collection and incorporates them into a dynamic swirling structure that traces the history of cycle design. Suspended from the ceiling, it adds visual interest for those queuing for tickets, without restricting floor space.

The piece was conceived by exhibition designer Emily Pugh, working alongside Zerlina Hughes of Studio ZNA and an in-house project team headed by Kristin Hibbs. Pugh created a 3D paper model of the Bicycle Tour structure, a stylised velodrome trackcum-timeline, that allowed the team to

agree on a workable design before it was sent for fabrication in mild steel, rolled aluminium and maple veneer by Susex-based firm Millimetre. By considering lighting early in the process, it was possible to integrate luminaires into the structure.

“We got our chosen manufacturers, Precision Lighting, involved at an early point in the concept to work up the detail for integrating into the suspended, curved mounting system,” says Hughes. 30 Monopoint Oculus 11 LED fixtures were built into the design. Fitted with sculpture lenses, the luminaires have beam widths of 14° and 30°, controlled with Precision’s Glare Guard.

Each delivers a lumen package of 350lm at 5.5W and a colour temperature of 3000K. A custom Monopoint connection system was engineered to fit perfectly into the steel tubing structure.

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Pic: Nick Rochowski

Pic: Nick Rochowski

“The installation is located in the entrance foyer to the museum, which has high levels of daylights entering through the adjacent window wall,” Hughes explains. “We knew we needed a local source with enough punch to highlight the suspended bikes in a dramatic way without being a source of glare for the viewer passing beneath. In the evening the installation would have a significant presence during late opening and also form the evening prime views from Exhibition Road.”

Additional ERCO Optec spotlights, on discreetly mounted side track, add a soft wash light, completing the Bicycle Tour tableau.

Due to its main entrance location, the piece was only allowed a very limited window for installation. To ensure minimal disruption, the entire structure was assembled and tested off-site before being brought to site.

Pic: Nick Rochowski

“The communication between all parties and the rigorous offsite testing meant that there were no hitches when we got to site and the project was delivered on time and within budget,” says Hughes.

The piece has proved an instant success, particularly with large groups of visitors, as Pugh notes. “It is marvelous for school parties and half-term queues,” she jokes.

“They all have a good look at it instead of wandering into the shop.”

COLLIDER EXHIBITION In addition to its work on the Bicycle Tour, Studio ZNA was also among the practices who responded to a tender invitation from the Museum to create a scheme for the new Collider exhibition. Hosted at the Science Museum from January to May, before heading out on tour around the world, Collider

The Collider exhibition, which started its world tour at the Science Museum in London, was developed by a creative team that included architect Nissen Richards Studio, playwright Michael Wynne, video artist Finn Ross and lighting designer Zerlina Hughes of Studio ZNA. A series of theatrical scenes recreates the look of different spaces within the CERN laboratories in Geneva.

Many fixtures were chosen to deliver an “architectural reality” to a series of space that offer a dramatised version of the offices, laboratories and collider tunnels of the real CERN complex.

Complemented by display and showcase lighting, the scheme successfully mimics CERN’s high contrast aesthetic while also meeting museum accessibility and legibility guidelines.

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PROJECT / SCIENCE MUSEUM, LONDON, UK

Pic: Duncan Lawson

details the work of the CERN particle physics laboratory.

Visitors explore areas including facsimiles of CERN’s Control Room and a huge underground detector cavern, encountering ‘virtual’ scientists and engineers, snooping around a researcher’s workbench, and examining genuine artefacts from CERN. The Science Museum developed the £1 million exhibition with an award-winning creative team including architect Nissen Richards Studio, playwright Michael Wynne and video artist Finn Ross. Nissen Richard Studio acted in the role of artistic directors, creating a workshop structure in which the museum curators, project managers, playwright, filmmaker and designer could engage in brainstorming sessions that culminated in a detailed story board for each section.

Lighting plays an important role in creating a dramatised version of the CERN complex,

JAPANESE 年間290万人もの訪問者を魅了するロンドン 科学博物館は、科学技術とデザイン分野におけ るイギリスの観光客向け大人気スポットです。 博物館は近日、二つの新しい設備を新設しまし た。 Studio ZNAが照明デザインを提供した、 改 装されたメインエントランスエリア、 そして特別ツ アー展示部です。 メインエントランスでは現在、 天井に様々なヴィンテージ自転車のディスプレイ が掲示が特集されています。 軟鋼、 ロールされた アルミ、 メープル材のベニヤで作られた定型化 されたベロドロームに、 自転車が取り付けられ 展示されています。 プレジション・ライトニングで 30もカスタマイズしたスポットライトが柔らかく、 眩しくない様にディスプレイに光があたるよう採 用されています。 ZNAはまた、建築分野のニッセン・リチャード・ スタジオを含むデザイナーやアーティストのチー ムとともに、 ジュネーブのCERNラボラトリー内 の大型ハドロン衝突型加速器(LHC)の展示に

developed after team visits to the real laboratories in Geneva.

“We designed lighting in each zone to have an architectural reality to the corresponding space in CERN, so it was almost a case of a series of stage or film sets being developed,” explains Hughes. ‘Office’ areas within the exhibition, are illuminated by suspended fluorescents (for example, Fagerhault Tenº Line) and more functional tunnel areas are given practical luminaires (Zumtobel Tecton with vane louvres and Siteco surface mounted can luminaires) or ceiling mounted light panels.

Onto this ‘character’ lighting was layered display lighting: Selecon Accent Beamshapers to illuminate graphics and information, as well as add key accents and colour; Concord Beacon Muse to light external objects; and Precision Lighting Pico 1 Surface LED spots - machined from aerospace-grade

取り組みました。 チームは共同でCERNの制御 室やLHC自体が入ったトンネルそのものを、 美し く再現しました。照明はCERNのコントラストの はっきりとした外観を再現する必要がありまし たが、 安全面並びに視認性の面においての必要 条件を満たさなければなりませんでした。照明 はまた、展示物がツアーにでる際設営や明暗調 整がしやすくなる 『プラグアンドプレイ』 である必 要もありました。

CHINESE 伦敦科学博物馆每年吸引约两百九十万游 客，是英国最热门的科技与设计旅游景点。 博物馆最近新增两个特色展区：焕然一新的 主入口区和特别的巡回展览区，两个区域的 照明设计均由 Studio ZNA 公司负责。 目前，主入口区正在天花板顶部展示不同年 代的自行车。这些自行车附着在以低碳钢和 轧制铝材制作、枫木贴面的自行车赛场上。 使用了 30 盏来自精工照明 (Precision Lighting) 的定制 LED 灯，为陈列品提供周到、无

Pic: Duncan Lawson

The swirling structure of Bicycle Tour provides a selected history of cycle design ranging from an 1880 Child’s ‘Ordinary’ penny farthing through to a 2012 1880 Brompton H2L-X folding bike.

闪烁的照明。 ZNA 也与包括 Nissen Richards Studio 建筑 公司在内的设计师和艺术家团队进行合作， 以进行日内瓦 CERN（欧洲核子研究组织） 实验室的大型强子对撞机 (LHC) 展览。他们 共同再现了 CERN 控制室和内含 LHC 的通 道的艺术美感。照明设备必须创造出 CERN 的高对比效果，同时满足安全性和易识别性 的要求。它还必须能够“即插即用”，使之 易于安装和拆卸，因为展览是在观光途中进 行的。

FRANÇAIS Accueillant quelque 2,9 millions de visiteurs chaque année, le Musée des Sciences de Londres est parmi les destinations touristiques les plus prisées du Royaume-Uni en terme de technologie et de design.

Tout récemment, le musée a créé deux nouvelles attractions, d’abord en rénovant complètement son hall d’entrée et ensuite en créant une exposition itinéran-

te spéciale, pour lesquelles le Studio ZNA a conçu l’éclairage.

Le hall d’entrée principal accommode désormais une série de vélos de différentes époques, tous accrochés à une piste de vélodrome stylisée en acier léger et aluminium laminé, plaquée en bois d’érable, et attachée au plafond. Trente projecteurs à diodes électroluminescentes faits sur mesure chez Precision Lighting ont été utilisés afin d’obtenir un éclairage discret et anti-éblouissement.

ZNA a également travaillé avec une équipe de designers et d’artistes, et le Studio Nissen Richards afin de concevoir un Grand collisionneur de hadrons (LHC) semblable à celui des Laboratoires du CERN à Genève. Ensemble, ils ont recréé l’esthétique de la salle de contrôle du CERN et les tunnels contenant le collisionneur de hadrons. L’éclairage devait reproduire la dynamique contrastée du CERN, mais aussi se conformer aux exigences de sécurité et de lisibilité. Cet éclairage « modulaire et prêt à l’utilisation » devait également être facile à installer et à démonter pour suivre l’exposition itinérante.

actual size

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PROJECT / SCIENCE MUSEUM, LONDON, UK

Pic: Duncan Lawson

Fabricated from mild steel and rolled aluminium, veneered with maple, the piece contains 30 custom Precision Lighting Monopoint Oculus 11 LED spotlights providing discreet, glare-free display lighting. The luminaires have no visible fixings, helping them blend into the artwork.

6063-T6 aluminium - in the showcases. “In the showcases we used a mini LED spotlight in aluminium and were keen that these were seen as part of the mechanics of the case since this was in keeping with the pieces of amazing engineering on display,” says Hughes.

Luminaires were DMX controlled and programmed - using a Que server system supplied by Paul Simson of Enliten - to work alongside the AV to dim at certain points or highlight certain features in a timed sequence to support the narrative of the exhibition, whilst also helping to direct visitor flow.

Recreating the high-contrast aesthetic of CERN’s tunnels while also meeting access and legibility guidelines was a significant challenge for the team, but one which was successfully achieved, as the Science Museum’s curator of modern physics, Alison Boyle notes: “It was an interesting challenge to create something atmospheric, a world that was unfamiliar to our visitors, while having to adhere to the safety, legibil-

DEUTSCH Das Science Museum in London, das jährlich rund 2,9 Millionen Besucher anzieht, gehört zu den attraktivsten Tourismuszielen in GB für Wissenschaft und Technologie. Das Museum hat kürzlich zwei neue Merkmale geschaffen – einen überarbeiteten Haupteingangsbereich und einen Bereich für Sonder- und Wechselausstellungen – für die Studio ZNA das Beleuchtungsdesign bereitgestellt hat.

Der Haupteingang verfügt nun über eine deckenmontierte Anzeige von Fahrrädern aus verschiedenen Jahrgängen. Die Fahrräder sind an einer stilisierten Radrennbahn befestigt, die aus Baustahl und gewalztem Aluminium hergestellt wurde, furniert mit Ahorn.

Dreißig maßgeschneiderte LED-Strahler von Precision Lighting wurde eingesetzt, um eine diskrete, blendfreie Displaybeleuchtung zu schaffen.

ZNA arbeitete ebenfalls mit einem Team aus Designern und Künstlern zusammen, unter anderem den Architekten Nissen Richards Studio, um eine Ausstellung über den Large Hadron Collider (LHC) im CERN-Labor in Genf

ity and aesthetic requirements that you have in a museum. It is a careful balance.

The light levels are low to create the right atmosphere but allow visitors to see all the content properly.”

As the exhibition will now tour until 2016, the ability to easily transfer and recreate the scheme in new locations was also an essential element of the design. Fixtures were selected for their ability to deal with different ambient conditions and for the ease with which each piece could be reinstalled. “Everything is designed to be packed up and taken somewhere else,” says Boyle. “It’s really important to replicate the show as closely as we can. We are lucky that we are underground in the Science Museum but that might not be the case everywhere else and the lighting has to do the job of convincing you that you are 175m below ground.”

Collider is now showing at MOSI in Manchester, UK until October, before it continues its world tour. www.studiozna.com

zu schaffen. Zusammen haben sie die Ästhetik des Kontrollraums im CERN und den Tunnel, in dem sich der LHC befindet, nachgebildet. Die Beleuchtung musste über den kontrastreichen Look vom CERN verfügen, aber gleichzeitig auch den Sicherheitsvorschriften und die Anforderungen in Bezug auf Lesbarkeit zu erfüllen.

Die Beleuchtung musste dem ‘Plug-and-Play’-Prinzip entsprechen, das heißt leicht auf- und abzubauen sein, da es sich um eine Wanderausstellung handelt.

ITALIANO Attirando circa 2,9 milioni di visitatori ogni anno, il museo della scienza di Londra è tra le destinazioni turistiche più ambite del Regno Unito per scienza, tecnologia e design. Il museo ha recentemente creato due nuovi servizi: una zona di ingresso principale per il ristoro ed una speciale mostra itinerante, per i quali Studio ZNA si è occupata della progettazione luci.

L’ingresso principale dispone ora di un display montato sul soffitto di biciclette di varie annate. Le bici sono collegate ad una pista del velodromo stilizzata e realiz-

PROJECT DETAILS Science Museum, Exhibition Rd, London, UK Client: Science Museum Lighting Design: Studio SNA Collider Exhibition: Architect: Nissen Richards Studio Bicycle Tour: Exhibit Designer: Emily Pugh Fabricator: Millimetre

LIGHTING SPECIFIED Collider Exhibition Precision Lighting Pico 1 Surface LED - in showcases Selecon Accent Beamshapers - highlight graphic and adding key accents and colour Concord Beacon Muse - external object lighting Gemma Lighting Wall Hazard Lights & Venus 24 XL LED - office light panel Zumtobel Tecton Luminaire with Vane louvres - ‘office’ areas Fagerhault Tenº Line Beta Luminaire - ‘tunnel’ lighting Atmostpheric Zone LTD Flex LED RBG - ‘tunnel’ lighting Siteco - Ceiling 10 Midi surface mounted can luminaire ‘tunnel’ lighitng Alexander & Pearl Ltd Suspended pendant Anytronics dimmers Bicycle Tour Precision Lighting Monopoint Oculus 11 LED spotlights ERCO Optec spotlights

zata in acciaio dolce e alluminio laminato, verniciata in acero. Sono stati utilizzati trenta faretti a LED, personalizzati della Precision Lighting, per fornire un display discreto e antiriflesso.

ZNA ha anche lavorato con un team di designer e artisti, tra cui l’architetto Nissen Richards Studio, per creare una mostra sul Large Hadron Collider (LHC) presso i laboratori del CERN di Ginevra. Insieme hanno ricreato l’estetica della sala di controllo del CERN e le gallerie che contengono l’ LHC stesso. L’illuminazione doveva avere il look ad alto contrasto del CERN, ma anche rispettare i requisiti di sicurezza e di leggibilità.

L’illuminazione doveva anche essere “pronta all’uso”, rendendola facile da installare e smantellare ogni volta che la mostra si sposta.

ESPAÑOL El Museo de Ciencias de Londres, que atrae a alrededor de 2,9 millones de visitantes al año, se encuentra entre los destinos de ciencia y tecnología, y diseño más visitados por los turistas en el Reino Unido. El museo creó

recientemente dos nuevas propuestas – una actualizada zona de entrada principal y una exhibición especial para salir de gira – para lo cual Studio ZNA ha provisto el diseño de iluminación.

La entrada principal ahora presenta una exhibición de bicicletas de varias épocas montada en el techo.

Las bicicletas están sujetas a una estilizada pista de velódromo hecha de hierro laminado y enchapado de aluminio, revestida con maple. Se utilizaron treinta focos de LED a medida de Precision Lighting para ofrecer una iluminación discreta y sin resplandor.

ZNA también trabajó con un equipo de diseñadores y artistas, entre ellos los arquitectos de Nissen Richards Studio, para crear una exhibición en el Large Hadron Collider (LHC) en los laboratorios CERN en Ginebra.

Juntos recrearon la estética de la sala de control de CERN y los túneles que contienen el LHC. La iluminación tuvo que tener el aspecto de alto contraste del CERN, pero también cumplir con los requerimientos de seguridad y legibilidad. La iluminación, además, tenía que ser plug-and-play, permitiendo que sea fácil instalar y desmontar la exhibición para trasladarse en la gira.

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ART & DESIGN / INSTALLATION

Pic: Fabrice Seixas

UNDER THE GRAND CHAPITEAU An old rebel at heart, light artist Claude Lévêque has consistently used neon light to express simple, but revolutionary thoughts. He turned to neon once again when commissioned to create an installation for one of the most recognisable sites in Paris, the Louvre Pyramid.

‘Sous le plus grand chapiteau du mondes’ in the Pyramid at the Louvre in Paris. The neon streak of lightning is inspired by Renaissance painting, the light reflecting off the glass surroundings to spectacular effect.

Of all of art history’s many mystery men, Giorgione, the Venetian High Renaissance painter is perhaps the most elusive. His painting ‘The Tempest’, one of the few authenticated pieces of his work that survives, has no known textual explanation and features a woman holding a baby and a soldier in a grassy landscape overlooking a river that flows towards an oddly futuristic city. It is the light though that is the highlight of the painting, it captures exactly the feeling of standing in the sunshine, as a storm approaches, that strangely eerie feeling you get as you watch a storm approach, as your surroundings darken and the temperature falls. Giorgione’s stormy sky is completed by a small streak of lightning, a detail that inspired the

renowned French light artist Claude Lévêque when commissioned to create an instillation for that most daunting of spaces, the Louvre Pyramid.

“The Pyramid is very restrictive in terms of space,” says Lévêque, a onetime attempted Chevalier of the Legion d’Honneur, an award, which, like any self-respecting selfstyled punk, he turned down. The I.M. Pei designed, Francois Mitterrand commissioned Pyramid, with its suposed 666 glass panels, spawn of many a junk theory and many a junk dime store novel (it actually has 673) is, says Lévêque, challenging in an architectural sense, but it is also a tricky space to operate in due to its “transparency and its role as a busy public space.”

Lévêque created a red neon lightning bolt,

titled ‘Sous le plus grand chapiteau du monde’, stretching from the apex of the pyramid to a mezzanine floor in its lower echelons. “I caught onto the idea of the red neon commencing from a viewing point over the ticketing hall to the summit of the pyramid very quickly. I think if I thought any longer, I may not have been able to come to grips with the constraints of the space.”

This incandescent broken line which zigzags through the pyramid, maintains an intricate dialogue with the architecture, the glass allowing the lighting bolt to splinter into reflections as incandescent light and neon suffuse. The piece also provides a physical touchstone to some of the artworks in the Louvre collection, not only Giorgione’s ‘Tempest’, but also ‘The

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Death of the Virgin’ by Caravaggio, which features theatrically draped blood red cloth, the colour of Lévêque’s lightning, a colour chosen by both artists for the sake of dramatic effect.

Born in 1953, Lévêque is a light artist with attitude. He has in the past given names such as Pier Paolo Pasolini, the trailblazing Italian director and poet, as well as David Lynch as his influences.

“Music is a driving force for me too,” says Lévêque, “it feeds my response.” He listens to everything from punk to classical and name checks Eminem as a current influence, as well as Jello Biafra, the former lead singer of the Dead Kennedys and a man who recently produced a great rendering of the Phil Ochs penned folk anthem ‘Love Me,

I’m a Liberal’ a song about people who talk the talk when it comes to their left leaning politics, but have long since ceased to walk the walk.

Lévêque is, like many artists who work with light, fascinated by the interplay between the medium and music. “In my work light and sound are wandering visitors on a journey,” he says, “they are both involved in the alteration of meaning. Light creates a metamorphosis that redefines reality and with it perceptions of order and disorder.

With light I am able to create another account, just the way the lighting in the theatre or in the cinema is able to create sensations.”

Neon light is Lévêque’s signature material used often to render words or phrases in a

replicated, shakily nervous, hand that acts to instill doubt rather than confidence.

‘The world is yours’ reads one such sign, ‘La vie c’est si joli’ (life is so pretty) reads another in a multicoloured light. Lévêque has also installed neon words on a number of disparate items, such as ‘fear’ on a disembodied car door or the words ‘Buvard’ and ‘Caillou’ graffiti style on paintings, mocking the often clumsy labeling of culture. He even created a white neon Mickey Mouse who casually introduces a replica of the ‘Arbeit Macht Frei’ sign from the Auschwitz concentration camp.

Levique also likes to install unexpected light in unexpected places. His ‘Mon Repos aux…’ series is particularly magical and features a glistening chandelier installed in a gritty

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ART & DESIGN / INSTALLATION

Top left ‘Mon repos aux Arques’ in the Forest of Arques in Normandy, retro light bulbs were used to light the path to the van’s position in the forest. Top right and above Examples of the use Lévêque makes of neon lettering in his work the shaky form resembling graffiti or the unsteady handwriting of a person under pressure.

Peugeot DB 30 van from 1953. The van has been abandoned amid the undergrowth of the Forest of Arques, the path to it lit by retro lightbulbs. It has also been abandoned, half submerged, in a fountain in the Jardin des Tuileries in Paris, surrounded by scattered Parisian street lamps, the chandelier squeaking in the Parisian breeze looking as if someone has tried to make off with one of the priceless Napoleon III light fixtures found in the Louvre and then botched the escape plan.

Although a political man, Lévêque tends to avoid placing emphasis too much on overbearing political themes in his work and instead prefers finesse. “Politics is something that is related to the life of every citizen,” he says, “I am very suspicious of artists who appropriate their language. The political situation in France is very serious and must be countered through

civic positions clear and determined. We must be very vigilant.”

Lévêque’s anti-establishment credentials were further burnished by his decision to name the collection he developed for the French Pavilion at the 53rd Venice Biennale, ‘Le Grand Soir’ a phase often referred to by French leftists as the ‘great night’ that will ensue when true socialism comes to France.

Although Lévêque hints at a political edge to the name, he notes that it is also a tribute to ‘The Greatest Show on Earth’ a film by Cecile B. DeMille set around the hullabaloo of the Ringling Bros. and Barnum & Bailey Circus.

The artist will now create the second part of his Louvre project, in the underground moat that can be found in the medieval underbelly of the former royal palace.

He also plans to show work at 180, an arts venue in Rouen and at Le Corbusier’s

Radiant City in Marseille. Lévêque will also create a project to be shown at the new Pierre Soulages museum in Rodez. Soulages, renowned for his use of black in his work, has been a major influence on Lévêque’s career from its outset, particularly Soulages’s willingness to follow his own path and thumb his nose at convention and the requirements of the majority.

“Sure, once I was young and impulsive,” sings Phil Ochs in ‘Love Me, I’m a Liberal’, “I wore every conceivable pin, even went to socialist meetings, learned all the old union hymns, but I’ve grown older and wiser and that’s why I’m turning you in!” Lévêque may have grown older and wiser, but this is one aging rebel that would never dream of betraying you for kicking the system in the knees. www.claudeleveque.com

236x333.pdf 1 14-7-16 上午9:51

THE 14TH CHINA (GUZHEN) INTERNATIONAL LIGHTING FAIR

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ART & DESIGN / EXHIBITION

All photography: © John Madden

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PRIMARY FOCUS Perth-based lighting designer Flynn Talbot has created an installation piece that uses three-dimensional geometry and RGB colour mixing to produce a transformative experience.

The last time mondo*arc spoke to lighting designer Flynn Talbot, it was just after the launch of his 2011 piece X&Y: a series of spherical luminaires whose colour and brightness could be manipulated by gently rotating the entire piece along its two axes.

X&Y typified Talbot’s ongoing exploration of colour and the way people interact with it.

His previous installations have seen burning sunsets recreated as large-scale, urban installations, works that aimed to offer the viewer a unique experience, one through which they could feel in some way changed or transported.

Talbot’s latest project, Primary, is a continuation of this journey into colour. The three primary elements of light - red, green and blue - are projected onto a three-di-

mensional structure of pyramidal spines that reach out from a triangular frame. By varying the levels of light coming from the three Philips Selecon LED light sources, a dance of geometric shadows is created.

“Primary was conceived when I lived and worked in Berlin,” says Talbot. “Almost two years later I found a temporary home for it in my home town of Perth, Australia.

After many experiments with different light sources and cardboard structures I found a balance of dark and light to create a deeply moving installation.”

Light and object are intrinsically connected. The three base colours informed the use of three separate light sources and the use of triangular forms to construct the piece.

The cardboard structure is designed to

fragment the light and show how coloured light is mixed. Throughout the ten minute programmed light show, a real feeling of movement is created, complemented by an accompanying soundscape.

“This is a concept which has been scaled to suit the available space and can fit in many interiors.” Says Talbot. “Visitors to the exhibition were presented with a long view of the piece, most thinking it was simply a 2D projection on the wall. On a closer look the three-dimensionality of the work became apparent and the depth of the polygons (up to two metres) could be seen. The front and side view are very different, each offering a unique visual experience.” www.flynntalbot.com

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ART & DESIGN / VENICE BIENNALE

THE ARTISTS OF VENICE This year’s Venice Architecture Biennale is one of the most anticipated in the exhibition’s history and with Dutch architect and Prizker Prize winner Rem Koolhaas taking the reigns as Director, anticipation was increased further. Here are a selection of some of the standout Pavilions at this year’s event.

CENTRAL PAVILLION / GERMAN PAVILLION ARCHITECTS: REM KOOLHAAS/ALEX LEHNERER/SAVVAS CIRIACIDIS LIGHTING SUPPLIER: ZUMTOBEL Zumtobel has developed and implemented an integral lighting concept for the impressive domed area located in the Central Pavilion, a section of the show that was designed by Rem Koolhaas.

The main feature is a special LED solution that puts the ceiling fresco by the Italian painter Galileo Chini, on the dome, centre stage using various colour temperatures with Tunable White technology.

The installation, which is concealed behind a sill and integrated in a suspended ceiling at the same time, simulates the natural course of daylight.

By means of various colour temperatures ranging from warm (3000K) to cool (7000K), the ceiling fresco is provided with fascinating aesthetic qualities, highlighting

Pics: François Halard

the polarity between nature and built-up space.

The overriding theme of the national pavilions this year is a study of each nation’s architectural style of the past 100 years.

The curators of this year’s German Pavilion, the Swiss-based German architects Alex Lehnerer and Savvas Ciriacidis, have responded to this request by creating an accessible room-to-room installation called ‘BUNGALOW GERMANIA’.

This Pavillion features an architectural assembly of two buildings historically significant to Germans: the first is the German Pavilion in Venice itself, built in 1912, converted in 1938 and 1964.

The second building is the Chancellor’s Bungalow in Bonn by Sep Ruf, built in 1964.

These two buildings represent two eras in German history, two political systems and two architectural idioms The installation by architects Lehnerer and Ciriacidis is a 1:1 replica of parts of the Bungalow integrating

the architecture of the Pavilion.

A third room is eventually revealed in the building, which acts to link the histories, moments, eras and locations of the two buildings together allowing for new associations in terms of form and use of architecture in relation to German architectural history.

The unique architecture of this project is enhanced by a special lighting solution provided by Zumtobel, strongly emphasising the concept of the two artists. www.alexlehnerer.com www.ciriacidislehnerer.com

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FUNDAMENTALS / CENTRAL PAVILION ARCHITECT: REM KOOLHAAS LIGHTING SUPPLIER: IGUZZINI Rem Koolhaas worked on the festival’s main pavilion in conjunction with some of his students at Harvard University where he teaches. Together they have created a series of rooms, which represent the main planks of architectural theory, such as partition walls, staircases, doorways and terraces, a deconstructed lesson in the architectural process.

In order to enhance the experience and encourage discussion, iGuzzini was the technical lighting partner for certain areas of ‘Fundamentals’. In the Elements of Architecture pavilion they worked together with Rem Koolhass’ practice, OMA, to create a custom product installed in the intro room. To reproduce a library-like atmosphere with comfortable lighting focused on the books displayed, they also produced Laser Blade Wall Washer ‘reading lights’, which were fitted on special arms. www.oma.eu

US PAVILLION ARCHITECT: LEONG LEONG LIGHTING DESIGN: ARUP LIGHTING SUPPLIER: REGGIANI OfficeUS is an open production firm reflecting on the past 100 years of architecture. The exhibition is a functioning workplace and for the six months of the Biennale, eight principals will work and interpret the repository, a library of binders with information on 1000 international projects designed by American architectural firms. Arup joined Storefront for Art and Architecture and architect Leong Leong in the design of OfficeUS folding light and sound into the exhibition.

OfficeUS searches for ambition and inspiration, turning past issues into future assets. The lighting design, led by Arup, reinforces a theme of reflection on the global influence of American architecture.

Conceptually, the office lighting aims to create a comfortable working environment for the architecture practice. The repository is a focal point, highlighting past architectural achievements exhibiting the opportunity for reflection on the successes and challenges each presents. Light and materials reinforce this concept: mirrors reflect views of the repository and the desk transparency provide opportunity to review, reconsider, and reassess the evolving modernization of architecture.

Focused track fixtures shed light on featured projects, while softer ambient light from the suspended pendants support the working office. In the main exhibition rooms, Reggiani Yori LED track fixtures and Linea Luce LED pendants made possible the transformation from concept to exhibit.

The Rotunda presents a soft inviting atmosphere midway through the exhibit, a circular room enclosed by mirrored blinds. The emphasis of the exhibition is on the relationship between work and workplace. In this vein, OfficeUS, is a microcosm of the exhibition itself. www.arup.com www.leong-leong.com

Pics: David Sundberg

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ART & DESIGN / VENICE BIENNALE

ITALIAN PAVILION ARCHITECT: CINO ZUCCHI LIGHTING SUPPLIER: ARTEMIDE Artemide was the main sponsor of the Italian Pavilion, which displays high technological skills and a close focus on research. Artemide worked with the architect Cino Zucchi, who curated the Italian show ‘Innesti/Grafting.’

“The display at the Italian Pavilion does not refer to an idea of linear evolution,” says Zucchi, “but rather offers a review of individual design episodes or events linked with each other in time by unexpected relations. While in the past century modernisation involved the entire country, the case of Milan is considered as an example of a ‘laboratory of modernity’, whose architectural and urban developments of the past hundred years highlight the special approach adopted in projects aimed at deep transformation,

confronted with the pre- existing urban texture.

Two key elements – the city of Milan, where Artemide was established, and the close cooperation with Milanese and Italian architects, are at the origin of the project.

‘Innesti/Grafting’ is a display of works aimed at combining existing matter with future form. Artemide has always shared this mind set and vision in its effort to promote and implement innovative, universal, long-lasting, sustainable lighting projects, open research platforms within the framework of a culture closely focused on man’s future development, wellbeing and relation with the surrounding environment and landscape.

In its dialogue with the story told by ‘Innesti/Grafting’ Artemide’s lights create a luminous experience that leads visitors through the two main halls of the exhibition.

The first hall, representing the complex interaction between innovation and respect for existing features, is dedicated to the ‘Milan case’, with light evoking an urban environment, while being used as a medium to stage phenomena, i.e. light and shade effects, through the interpretation of the contents on display, where the subject is closely connected with the object and experiences a full immersion into their surroundings.

The second hall hosts to a patchwork of architectural images, a representation of a great contemporary landscape obtained by means of luminous elements with different shapes giving life to a subjective, inspiring pure-light scenario, a journey to Italy across a luminous landscape.

The outcome of this partnership is a perfect blend of great lights and great Italian architecture. www.zucchiarchitetti.com

KOREAN PAVILION CURTATOR: MINSUK CHO Winner of this year’s Gold Lion, The Korean pavilion hosts the installation ‘Crow’s Eye View: The Korean Peninsula’, curated by Minsuk Cho, where architecture from the Korean Peninsula appears as a mechanism to generate different narrative stories through the perception of both everyday features and monumental ones. These stories are represented through a broad range of works by architects, urban designers, poets, writers, photographers, film-makers, and collectors, demonstrating the close connection between Artemide and Italian and worldwide architecture. www.massstudies.com

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CANADIAN PAVILION ARCHITECTURE: LATERAL OFFICE OF TORONTO LIGHTING DESIGN: CS DESIGN LIGHTING SUPPLIER IGUZZINI The Jury of the 14th International Architecture Exhibition of la Biennale di Venezia has awarded a Special Mention to Canada for the exhibition ‘Arctic Adaptations: Nunavut at 15’, which was organised by Lateral Office of Toronto. The Pavilion looks at the evolving role of architecture in extreme climates, with a particular focus on Nunavut, Canada’s youngest and most northerly territory. The exhibition considers the past 100 years through a series of soapstone carvings by Inuit artists illustrating important buildings and presents the current context through a series of milled, bas-relief Corian models describing every community in Nunavut, paired with photographs taken within each community. The exhibition also projects forward fifteen years, through a series of speculative projects, in order to consider housing, health, education, arts and recreation typologies. A series of fifteen living models are brought to life by time-based animations, hover in the exhibition space, describing proposals at territorial, community and architectural scales.

“This award is important because it highlights the key role that architecture has played and could play in the future, in a region where architecture and urbanism have been largely overlooked, except as tools of colonization. The exhibition brings together a remarkable team of students, architects, Nunavut organisations, Nunavut artists and amateur photographers, to document, reveal and speculate on the region’s future. The exhibition celebrates the remarkable resilience, adaptability and innovative nature of Inuit culture, a culture able to bridge tradition and modernity in remarkable ways. To have this work internationally recognized is fantastic,” said Lola Sheppard, principal at Lateral Office and one of the exhibition’s curators.

Lighting in the Pavilion was conceived with CS Design in Montreal and iGuzzini, and evokes the dramatic horizon and long days and nights in the Arctic. Airport Railings in Toronto contributed to the exhibition fabrication.

The Canadian exhibition is presented by Manulife, and supported by the Canada Council for the Arts. After the Biennale, the Winnipeg Art Gallery (WAG) will tour the exhibition across Canada, beginning with a display at the WAG, in the spring of 2015. www.lateraloffice.com

BRITISH PAVILION ARCHITECTS: FAT ARCHITECTURE A Clockwork Jerusalem explores how the international influences of Modernism became mixed with long standing British sensibilities. It examines how traditions of the romantic, sublime and pastoral, as well as interests in technology and science fiction were absorbed to create a specifically British form of Modernism. A variety of large scale projects offer insights into the way architecture was central to manufacturing a new vision of society at a scale inconceivable in today’s Britain. The exhibits include Cliff Richard record sleeves, photographs of significant housing projects, a nod to the Anthony Burgess novel ‘A Clockwork Orange’ and even an LED horse. www.fashionarchitecturetaste.com

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ART & DESIGN / ESSAY

AESTHETIC QUALITY REDEFINED Designer Thomas Wensma makes the case for products that focus not only on the functional but also their ability to engage the user physically and aesthetically.

“Very often design is the most immediate way of defining what products become in people’s minds.” Words from long time Chief of Design at Apple, Jony Ive. In today’s world that is unfortunately still filled with visual pollution, I feel we need a renewed and better understanding of the purpose that aesthetics have on the emotional relationship between products and brands and their users.

In many ways, how a product works defines our experience and the feelings we have in relation to that product. This is why I can understand many designers’ focus on telling others that design is about how something works rather than how it looks. Though this is an intrinsic part of design, what we might be forgetting is that aesthetics actually matter a lot. The visual elements of a product or the visual identity of a brand, is in most cases still the first thing we see.

It is an important part of how we start to think and feel about a product. It strongly influences whether or not we will have an emotional connection with that product or brand. As human beings, many of our initial connections are made because of physical attraction. In relation to products the same is true. When we see a product and think it is beautiful, we are feeling emotions that makes us want to explore the look and feel of that product even more. We want to touch its smooth or textured surface, feel it in our hands and connect with it. It is a very personal experience. The product might not be ours yet, but we want to have it. We desire it. Many times this can and will also be the start of loving the brand that makes that product.

Allison Johnson (Former VP Marketing at Apple) said, “The product is the experience

and is the brand. There is nothing separate about those two.” Although I don’t have psychological proof for it at hand, I think for a large part it resembles what happens with attraction and desire between people.

One of the reasons many designers tend to focus more on how a product works, is because aesthetics and beauty are much harder to define. The second ‘problem’ is that aesthetics are also very much about personal taste. What one person desires can be completely different for the next person.

“When aesthetics are really part of design and not the criteria of taste, the decisions on a product’s aesthetics are very much about ‘functional quality’ and ‘aesthetic quality’.” This quote by Dieter Rams explains how it is a fundamentally different approach to making decisions based on personal taste. When we design around the user’s needs, it becomes clear how a product should look and feel. Fully understanding how the product will be used will result in certain considerations for material, shape, colour, and many other visual elements.

To a certain extent, it defines the look and feel. Important to understand is that it is not based on trends, style or fashion.

To design a product that is aesthetically correct, one needs to understand that details are everything. Aesthetic quality comes from interconnected elements that are in harmony. The slightest change in a curve, the tiniest change of an interface element or use of a different material are all of the utmost importance. Details enable communication, and communication in turn is one of the most important factors in connecting with the user. If the product is the experience and brand, getting the details right will be the difference between

a nice experience and brand preference or a truly great experience with users loving both your product and brand. Getting the details of product and brand experience right means attention and continued focus to keep iterating and improving. Making good design even better by making tiny improvements. I am strongly convinced that only when as a designer you get the details ‘right’, is it ready to go into the world and be a touchpoint to your users. Every detail of a product, it’s packaging, the brand story and all other elements should be balanced and in harmony. The challenge for a designer is to transform all of these complexities - that is the essence of the design process into a product that brings the user simplicity and joy.

Just as a product needs to be as simple as possible, so should your brand be. If you’re not understandable as a brand, people will not care or connect to you as deeply.

Dieter Rams said: “We need more clearness.

Everything is too chaotic.”

Of course, both product and brand have many complexities, but they should always be hidden to the user. What is important is telling a clear story. The story of your product and the story of who you are as a brand.

What do you want people to know about you as a brand and about the product(s) you have. Storytelling is based on values and taking people on an emotional journey. Giving them a certain feeling. An experience they become part of. Your product is always at the heart of that.

Thomas Wensma is Creative Director & Designer at Ambassador Design @thomaswensma www.thomaswensma.com

Go to Infinity!

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ART & DESIGN / DARK SOURCE STORIES CREATED BY KEREM ASFUROGLU

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TECHNOLOGY / CASE STUDY

ATLANTIC GRANDEUR

Lighting designer Franck Franjou, in collaboration with Axente, Philips Certified Value Added Partner, fine tune the light on historic Hotel du Palais in Biarritz.

When Napoleon III wanted a palace for his wife, the Imperatrice, Eugenie, he chose to build it at Biarritz on the Atlantic coast of France near the border with Spain. Since then, the town has become a popular tourist resort and the Hotel du Palais a symbol of the town and the grandeur of times past.

The magnificent dining room has uninterrupted views over the Atlantic and, as the sun sets, you can see small fishing boats returning to harbour.

Unusually, this grand hotel is owned by the Town of Biarritz (Ville de Biarritz) and as part of the ongoing improvements to the town’s attractions, it was decided to upgrade the lighting for the hotel.

Previously, only one face of the hotel was illuminated and this used lines of xenon ‘festoon’ type lamps which, over the years, had lost their sparkle. There was also some

high pressure sodium lighting in the gardens which emitted a rather dull yellow light which was not at all sympathetic to the landscaping.

At this point, Biarritz Town invited the Parisian lighting designer Franck Franjou to design a new lighting scheme for the hotel.

There were two challenges to overcome.

The first was that the whole project from the initial concept to final commissioning had to be completed within six months. The second was how best to light this majestic building in keeping with its history and setting.

At this point, Franjou decided to collaborate with Philips Certified Value Added Partner Axente – this was due to the success he had working with them on previous projects.

The main reason for choosing Axente is that

they are specialists in lighting control. Their expertise meant that programming the lighting effects could be done quickly and reliably. Scene setting and control of LEDs requires knowledge, capabilities and experience that is often beyond that of many lighting professionals.

A major issue was the short time period for the project. Another reason that Axente were chosen was because they could provide large scale demonstrations of the equipment in a very short time period.

This was a key element in the success of the project. As a Philips Certified Value Added Partner, they keep large quantities of equipment in stock ready for demonstrating to customers.

Regarding the lit effect of the Palais, Franjou wanted a subtle effect but one that could change according to local events or

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the time of year. He decided on a solution using a combination of dimmable white LEDs with different degrees of warm and cool light.

The equipment chosen was the Philips intelliWhite Powercore linear LED system using a combination of 2700K, 4000K and 6500K LEDs. Approximately 185 luminaires were installed. “It was essential that there was consistency in the appearance of all the LEDs across the whole façade,” said Franjou, “and the Philips Optibin technology ensures that there is complete uniformity in the appearance.” It is believed that this is the first time that a grand ‘Palais’ hotel has been illuminated by using varying white colour temperature LEDs that are also dimmable.

For most of the year, there is a subtle change in appearance between 2700K and

4000K. In the winter months, the cooler 6000K is used more often. It is also possible to make the hotel sparkle by making the LEDs flash rapidly. “I could not have achieved these effects without the help of Axente,” said Franjou.

The luminaires are placed between the windows so that no light shines into the bedrooms and are dimmed late in the evening so that guests can see the dark Atlantic and the nightscape of Biarritz.

Franjou also said that this project could not have been completed so successfully without the excellent co-operation of the Town’s chief engineer Mr Herve Capdeville. www.philips.com/axente

Lighting designer Franck Franjou has created a dynamic LED white scheme for the hotel, the first time it has ever been illuminated in this way. For most of the year, there is a subtle change in appearance between 2,700K and 4,000K. In the winter months, the cooler 6,000K is used more often. It is also possible to make the hotel sparkle by making the LEDs flash rapidly.

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TECHNOLOGY / CASE STUDY

Photography: WE-EF – Frieder Blickle

LANDSBERG LANDMARK After a substantial redesign, Landsberg am Lech’s main square, located in the centre of the historic Altstadt district, has a brand new look with some innovative features. The lighting solution features WE-EF LED street and catenary luminaires.

Landsberg am Lech’s main square now provides an attractive and inviting central meeting point in the city where everyone, both young and old, can come together. To achieve this, the lighting concept has to bring the square alive during night-time.

The new design also creates a space for various types of public use and events that emphasise the unique identity of this town’s commercial centre.

Apart from the imaginative lighting concept, another major feature is the new road layout in the square, which was previously split in two. In addition, a speed limit of 30km/h for vehicles, newlyinstalled public transport stops as well as space for cyclists and pedestrians now allow the square to be shared by all. Pavements have been resurfaced, trees planted and new street furniture installed in order to give the area a facelift. The main square now provides approximately 9,000sqm of pedestrian-friendly space.

The lighting design received particular attention, even during the project tender stage. Munich-based lighting design practice Day & Light Lichtplanung had to plan in accordance with the guidelines as defined by the protection of historic buildings and monuments, while also taking into consideration the needs and wishes of residents, business owners and visitors. Despite this complexity, the lighting designers managed to deliver a solution that is much more than just the application of typical street and area lighting. The lighting in the main square acts as a creative design medium that shapes its surrounding space. It not only provides excellent visibility and a safe and secure environment, but also creates a pleasing ambiance, and highlights the character and architecture of the square.

A lighting solution suitable for all needs In a town centre with such an historical heritage such as Landsberg‘s, the installation of modern exterior lighting technology

creates challenges, particularly when it comes to available anchorage points. Landsberg municipal authorities asked for wall mounted luminaires to be used to illuminate pavements that run parallel to the facades of houses. Buildings with different numbers of storeys and various heights, friezes, shop awnings, advertising structures and heritage-protected buildings made it impossible to satisfy this requirement everywhere. Post mounted luminaires installed near buildings in some locations would be an alternative to wall mounting. Because of the confined available space, catenary (cable-supported) luminaires were installed above streets.

Luminaires selected on-site Sample units were trialled on-site in order to determine photometric performance and quality (including luminous flux, light distribution and colour temperature); costs (investment, energy and maintenance); and to ensure that the right type of luminaire

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Landsberg municipal authorities asked for wall mounted WE-EF luminaires to be used to illuminate the pavement that runs parallel to the facades of houses. Buildings with different numbers of storeys and various heights, friezes, shop awnings, advertising structures and heritage-protected buildings made it impossible to satisfy this requirement. Post mounted WE-EF luminaires were installed near buildings in some locations as an alternative. Day & Light Lichtplanung was responsible for the lighting design scheme with lohrer.hochrein carrying out for the landscape architecture. Both companies are Munich-based.

was selected. Classic and contemporary luminaires, each using different lighting technologies, were tested.

At the end of the selection process, the decision was made to opt for a combination of WE-EF VFL530 LED luminaires – for wall and post mounted installations – as well as RFS540 LED catenary luminaires for the cable-supported streetlighting.

LED luminaires provide clear cost benefits. The lower installed loads of LED light sources deliver energy savings, and their long service life cuts maintenance costs significantly compared with the conventional technology used in metal halide lamps.

Multi-level control means that luminous flux can be adjusted according to needs.

Luminaires installed in Landsberg’s main square, are equipped with WE-EF’s Eco Step Dim Advanced, factory-programmed electronic dimmers. Luminaires are programmed to reduce the level of streetlighting to 75 per cent of its initial value at

10.30pm and 50 per cent at midnight. No special power supply and/or control wires are required.

Wall and post mounted luminaires in the square, cable-supported luminaires in the street The boundaries of the main square are defined by the edges of the buildings that surround it. Wall and post mounted luminaires illuminate both the pavement and the building façades. This defined grazing light on the frontages is a vital factor for the perception of depth – facilitating better orientation.

The wall and post mounted luminaires can perform this dual function due to their precise lens optics. The VFL530 LED 24W luminaires used in this project have an asymmetric ‘side throw’ distribution.

They provide the requisite illuminance and uniformity in the target area from a mounting height of approximately five me-

tres. A small portion of the distribution is directed downwards to the frontages in the space behind each luminaire. Precise light distribution prevents ‘stray’ light occurring outside the target area.

The LED luminaires have a colour temperature of 3000K. Their warm-white colour exceeds minimum required road safety values and conveys a realistic impression of the colourful façades. The lighting plan ensures that the light distribution is gradually reduced near the centre of the square to ensure the accent illumination on the Marienbrunnen fountain (an important town landmark) is highlighted.

The streetlighting is provided by RFS540 LED 48W luminaires on overhead cables, which allowed most the existing supports to be used. These luminaires also feature warm-white LEDs with a colour temperature of 3000K, together with an asymmetric ‘side throw’ distribution. www.weef.de

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TECHNOLOGY / CASE STUDY

HUNKERING DOWN A former World War Two bunker in Hamburg-Wilhelmsburg has been transformed into an environmentally friendly energy plant. ERCO approached lighting the building with both excitement and sensitivity.

Notable for its monumental 42 meter concrete façade, a former flak bunker, a relic from the Second World War, has been transformed into a characteristic new feature of the urban image of Hamburg-Wilhelmsburg.

Elaborately renovated and converted as part of the International Building Exhibition, the so-called ‘Energy Bunker’, now a power plant, uses renewable forms of energy to supply the surrounding residential district with power and heat. Around 800 residential units are currently supplied with an energy mix of photovoltaic and solar heat, biogas and biomass as well

as industrial waste heat. At the heart of the system is a massive water tank which stores heat and releases it as required.

Now open to the public, the Energy Bunker offers a café and exhibition zones that invite visitors to embark on a tour of discovery and enjoy a panoramic view of the city at a lofty height of 32 metres.

ERCO created a stunning impression of depth in the rough-textured interior, with its massive water tank used as a heat store.

Neutral white light illuminates the concrete façade effectively allowing it to stand out in

the dark, while grasshopper luminaires have been used to produce an optimum longdistance effect.

ERCO has responded to the sensitivity of this historic war monument by using discreet lighting. The building is lit from below and the lighting deliberately refrains from staging the building as an artwork, underscoring instead its current importance to the Wilhelmsburg district. www.erco.com

TECHNOLOGY / CASE STUDY

FROM RUSSIA WITH LOVE The historic Leningradski Station in Moscow has seen its fair share of history over the years. New lighting from Insta means that the station will go on to serve the local community for many years to come.

Leningradski Station, built between 1842 and 1851, is one of the oldest stations in Russia. It is the principle station for people departing for St.Petersburg, where they arrive at the Moskowskij Station – the identical counterpart of Leningradski Station.

With the construction of Russia’s first railway, connecting the two cities of St. Petersburg and Moscow, architect Konstantin Thon designed the Leningradski Station in Moscow and dedicated it to the city of St. Petersburg. Since then, the Leningradski Station has been fascinating passengers with its huge entrance portals and the central clock tower whose architectural style is reminiscent of the Italian Renaissance.

When the station was modernised in 2013, a new building was added to the structure.

The façade of the new building was equipped with 430m of LEDLUX LX RGB by Insta, which are able to create different light scenes.

As the main station building had only been renovated once before, extensive renovation and modernisation measures were necessary. The two-part main building has completely been renovated and ticket and information counters, as well as a supermarket have been added.

The façade illumination of the new building consists of customised RGB luminaires from Insta, developed in cooperation with the Russian lighting designer Pavel Pavluk and architect Ilja Semenov of Ultimatum

Group GmbH. Especially for this project, the design specialists Pavluk and Semenov created and manufactured luminaire housings of up to 13m length. Afterwards the LEDLUX LX RGB were inserted into the housing which was then installed vertically onto the façade.

In order to emphasise the relationship between Moscow and St. Petersburg, Insta has programmed special lighting scenes reminiscent of the blue and green shimmering polar lights that are visible in St. Petersburg. The fixtures are also able to create the Russian flag in an impressively patriotic touch. www.lightment.insta.de

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TECHNOLOGY / CASE STUDY

HAVING THE CRAIC Dublin’s Old Jameson Distillery attracts hundreds of visitors per day. A recent refurbishment, featuring lighting from Iluminarc, has further burnished its tourism credentials.

The hundreds of tourists who pour through the doors of Dublin’s Old Jameson Distillery for a tour of the Irish whisky making process are now met by a completely new visitor experience.

Designed and installed by Gorilla Design, supplied by QLX Lighting, the refurbished attraction now features a more unified look, incorporating lighting fixtures from Iluminarc and Chauvet.

The installation encompassed the main reception area, café, stairwell and underfloor of the attraction. The installation has further enhanced the underfloor cellar area which has been powerfully depicted by Ilumiline Logic 12 fixtures.

The slim line nature of the Ilumiline Logic 12 means that the fixtures are hidden from view, sitting invisibly beneath the metal frame suspending the glass floor. The

linear solutions provide an exquisite visual combination of the traditional and modern.

A welcoming feel to the rest of the reception area was created using 24 of the resourceful Chauvet Professional COLORado 1-Tri Tour fixtures, 24 Chauvet Professional COLORdash Par Tri-18 VW wash lights powered by seven cool and warm white LEDs, for purer whites and a colour temperature selection ranging from the warm and inviting to crisp, cold shades.

Additionally, six Chauvet Professional wireless event LED luminaires and charging case WELL 2.0 systems were used as flexible lighting solutions throughout the venue for private events.

Gorilla Design deployed an iLight control system to create a fully controllable lighting solution for the multifunction event space, with energy efficiency managed for low running and maintenance costs. The colours

across the walls, ceiling and underfloor scroll calmly through the colours of the brand changing almost imperceptibly.

Rob Jones, Gorilla Design MD and Director of QLX Lighting, explains, “We chose the Iluminarc range of lighting for its superior quality at a competitive price. Iluminarc is perfect for high-impact event spaces such as the Old Jameson Distillery because of its reliability and the beautiful high-definition colours it can create.”

You don’t need light to enjoy good whiskey, but you do if you want to learn about the age old process that makes Irish whiskey taste so good. The new look Jameson Distillery, complete with its new lighting, certainly casts their liquid light in the perfect hue. www.iluminarc.com

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IF IT’S BAROQUE, FIX IT Churchgate House is one of Manchester’s most imposing buildings. Completed in 1898 it now boasts modern office space amid its Edwardian Baroque features. Enigma developed an effective lighting scheme.

Enigma Lighting was appointed by interior designers Space Invader to develop and manufacture a bespoke lighting feature for the newly modernised reception and lobby area of one of central Manchester’s most impressive buildings, the Grade ll listed Churchgate House. The former Tootal, Broadhurst and Lee Building was a large warehouse before its redevelopment as an office.

It was necessary for the characteristic building, which was built in 1898 and retains many of its Edwardian baroque features, including a marble war memorial by Henry Sellers, to meet the high specifications demanded by modern office occupiers without compromising the qualities of the building.

Enigma was commissioned to provide a high spec lighting scheme for the new state of the art reception and lobby area, which features a business lounge as a venue for occupiers and visitors to meet over a coffee or something to eat during the working day.

To meet the project criteria, four bespoke suspended frames were produced. Three of the frames have extruded aluminium profiles finished in powder coated bronze, with continuous direct and indirect high output DALI dimmable LED. To complete the look, hand wrapped panels with voile fabrics were fitted to the inside and outside of the frames to give a glamorous shimmer finish. The panels were made to measure with a perfect shadow gap

detail at the top and bottom.

The fourth frame was designed with hand finished wooden panels added to all four sides.

The bottom of the frame was fitted with a backlit stretch ceiling detail for a totally uniform light over the cafe area.

Aided with fifteen large 900mm black decorative pendants, the final effect is unique, beautiful and exactly what the design team envisaged at the outset, resulting in a flexible state of the art reception and lobby area. www.enigmalighting.com

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HIGH OFFICE HIGHLIGHT An icon of Soviet modernism, the Moscow Government complex on Novy Arbat, one of Moscow’s most fashionable avenues, was given a new lease of life by Griven.

As an integral part of the recent renovations of Moscow’s city centre, Novy Arbat Street, one of the most popular and fashionable avenues in the Russian capital, has gained a new lease of life after Griven LED lighting fixtures were installed to light up a government building on the avenue.

The Moscow Government complex on Novy Arbat Street, is one of the most important buildings in downtown Moscow. Erected in the years from 1963 to 1970, the CMEA is considered a masterpiece of Soviet modernism. Hosting conference rooms, a hotel and administrative offices, the complex is shaped like a standing open book, symbolizing an edifying open-mindedness towards culture.

Entrusted to the Russian group Svetoservis, the lighting concept of this building had to match the existing illumination scheme of Novy Arbat street through the use of a dynamic, multi-coloured accent and flood

lighting. The height of the building meant powerful LED spotlights with narrow optics were also required, but applied in a way that would not prove disrupted to the building’s occupants.

As a solution, only the central block and the outside borders of the three wings were given a dedicated lighting approach.

Though Griven luminaires had already been identified as an optimal solution for the side wings, it was decided that something special was required for the central section.

In response, Griven’s R&D team produced a tailored ultra narrow beam wall washer, perfectly matching the several guidelines strictly requested by the project specifications.

14 units of a new powerful LED floodlight, Powershine D Ultra Spot RGBW, featuring an ultra-narrow, sharp, long-shot beam of light were installed at the base of the central block. The Powershine D Ultra Spot RGBW

was also used, utilising its double cluster configuration LED projector, with full independent digital control of each LED bank, which is fitted with a total of 72 RGBW high brightness LEDs that provide a good white light output quality, as well as a wider variety of intermediate colour hues.

44 units of Powershine MK2 D RGBW with spot optics were also positioned at the base of the sides of the three wings aiming at different levels in order to achieve a perfect colour and light distribution up to the roof. The lighting scheme works in two different modes: during the weekday fixed colours are chosen and during festivals and weekends a dynamic colour sequence enlivens the building perfectly matching the multicoloured dynamism of this bustling avenue. www.griven.com www.svetoservis.ru

TECHNOLOGY / CASE STUDY

PREPARING THE PALACE As one of the most renowned arts venues in Budapest, The Palace of Arts sits at the centre of the community.

When it was decided that the building’s lighting design required modernisation, SGM got to work.

The Palace of Arts in Budapest, locally named Művészetek Palotája and often abbreviated to Müpa, is one of the most prestigious concert halls in Central and Eastern Europe.

The building’s previous colour-changing lighting system, installed a decade ago, had become outdated and did not provide the deep, highly saturated colouration needed.

Therefore, with TriGránit Management Ingatlankezelö és Hasznosító Kft on board as an investor, a tender was initiated for the modernisation of the façade lighting system.

SGM won the right to develop the project and engaged with local lighting distributor, Zaj System House Trading to develop the

best lighting scheme for the building.

Zaj System House submitted a complete projection design and it was found that the SGM P-5 wash light was the correct fixture for this project due to the high level of surrounding street lighting and light pollution in the area.

H90 P-5 fixtures were used for the extensive façade illumination, 48 of which were custom-made in silver, to be placed on five and eight metre high columns (two or four units per column), with the smaller shape and size of the P-5s over their predecessors.

The remaining SGM wash lights were placed on terraces, roofs and stands in the garden and three pieces were even mounted in the atrium.

The elegant, custom colour P-5, with its high output and low power consumption acheived all the aims required, due principally to its different projection angles, which help to fulfil the architect’s original dream to turn the complete building into any deep, saturated or light pastel colour desired.

Zaj System House has already moved to create further new installations with SGM equipment, where among other projects, an outdoor stage is being installed with various pieces of the new Q-7 and the SixPack blinder product ranges. www.sgmlight.com

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TECHNOLOGY / CASE STUDY

A GALLERY REFRAMED Consultants Unilight installed a Reggiani Illuminazione system of LED lighting as part of a dramatic redevelopment of Gallery Nedbalka in the Slovakian capital of Bratislava.

The Gallery Nedbalka stands in one of the oldest areas of Bratislava. Residing in a street that runs along walls of the old town, the gallery building won the Dušan Jurkovič prize for original architecture when it was first constructed - setting an intimidating precedent for supervising architect Jarmila Kusa when she was asked to carry out a complete reconstruction of the space in 2012.

With its smoothly curved, white surfaced atrium, the rejuvenated gallery has echoes of Lloyd Wright’s Guggenheim.

More than 500 different works are on show, including a permanent collection of 160 paintings and sculptures from 46 of the most renowned local artists and more than 20 pieces by Slovak artists returned from abroad to Bratislava. The works of art are displayed over a surface area of more than 1 529m², spread over five floors.

The exhibition space on the ground floor is designed to house temporary exhibits, while the remaining four floors are devoted to the permanent collections. Each floor is dedicated to a specific period of history, offering a complete overview of Slovak painting and sculpture in the twentieth century.

A unique feature is the skylight that allows natural light to filter throughout the Gallery. All five floors are developed around a central courtyard which extends for the total height of the building.

LED LIGHTING The Gallery was the first museum in Slovakia to exclusively use LED lighting.

The project, entrusted to lighting consultant Unilight, was, from the very beginning, designed to allow optimum illumination of the works on display, taking into consideration the level of natural light which filters through the Gallery’s skylight.

Reggiani fixtures were used throughout the project. Bisio adjustable recessed LED luminaires provide the diffused lighting in the walkways, while Sunluce track-mounted

LED luminaires generate the accent lighting on the paintings and sculptures.

For the communal spaces, such as the lounges and waiting rooms, Miled was selected, a new recessed fixed optics LED system offering light source temperature control and excellent performance in terms of both lumen output and energy efficiency (>110 lm/W).

The 3000K LED lighting and the colour rendering index of >90 in the exhibition areas prevents deterioration caused by continuous exposure to artificial light, but at the same time ensures sufficient illumination of the chromatic and textural features of the works.

The lighting solutions really make the most of the potential of the LED sources, offering the perfect combination of design plus power supply and temperature control system technologies.

All solutions include Reggiani’s IOS (Interchangeable Optical System) for optimum flexibility. This technology allows the flexible management of the projection and set-up of the various lighting options, particularly useful in the case of temporary exhibits which require the regular modification of the exhibition layout. For the permanent collection, Unilight opted for the IOS optics with an average illumination angle of 30° for sculptures and 52° for paintings.

The result is an extremely energy efficient building in which natural and artificial light combine to ensure optimum visual comfort for the Gallery’s visitors, perfectly showcasing all the uniqueness and charm of the works on display.

Passionate about the project and extremely pleased with the results, Peter Pasko, Gallery Nedbalka owner, stated: “The quality of the LED lighting and the technology offered have provided us with a flexible lighting solution and allowed us to reduce our energy consumption by around 72%.” www.reggiani.net

In 2012, Unilight began work on a project to redevelop the Gallery Nedbalka in Bratislava using LED lighting from Reggiani.

Pic: Julo Nagy

Pic: Julo Nagy

Pic: Julo Nagy

Pic: Julo Nagy

Pic: Julo Nagy

Pic: Julo Nagy

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TECHNOLOGY / MAY DESIGN SERIES

THE SERIES FINALE Five shows under one roof, including a specialist Lighting section, the May Design Series drew practitioners from an array of design disciplines to London’s ExCeL. Incanda-LED Megaman The Incanda-LED range is a breakthrough in LED technology as it provides a brilliant sparkling light effect with a unique lamp design that resembles a point light source and the sparking light effect of an incandescent lamp. With a high luminous efficacy of up to 100 lm/W of high-quality warm light, the Incanda-LED lamps can reduce energy consumption by up to 89% when compared to its incandescent equivalent, and offer a much longer life. www.megamanlighting.com Lighting designers, architects and interior designers were among the high-calibre design talent in attendance at this year’s May Design Series (18-20 May), a three day showcase for those involved in the creation of well designed spaces.

Alongside the Conversation Series (a programme of talks tackling all aspects of design), was a lighting specific conference, the Designers With Light Forum (see page 124), and a host of architectural and decorative lighting exhibitors. www.maydesignseries.com

Hidden-151

Mizar

Hidden-151 is a trimless, recessed, integrated system for both indirect diffuse lighting and direct point lighting.

Available in black and white, it is an aluminium extruded profile for plasterboard 15mm thick, The 30 degrees inclination of the profile makes the system blend with the architecture of the space. It can be fitted with strip LED for continuous indirect light and spots for point lighting. www.mizarlighting.com

Solid Terence Woodgate The Solid range features LED pendants and surface mounted downlights in natural materials such as Carrara and Nero Marquina marble, oak and walnut.

The collection is optimised for Megaman high lumen output LED lamps (a lamp is included), with excellent glare control for comfort. Solid is designed with effective thermal cooling for LED performance and longevity. A unique support design enables the fitting to be adjusted so that it hangs completely vertical and true. www.terencewoodgate.com

Facet Innermost Polished stainless steel sections arrayed around the circumference of this beautiful luminaire create a surface of small facets that fragment the image of its surroundings, replicating the mesmerising beauty of a carefully cut crystal. www.innermost.net

Phi B.lux Designed by David Abad for the ‘Deco’ sub-range of the B.lux lighting collection, the Phi family of Scandinavian-inspired lighting was shown on the Vivid stand.

The complete range (table light, floor light and three sizes of pendant) are all available in sober, understated white, grey and beige finishes. To complete this simple harmony the fabric cables used within these timeless pieces are supplied in the same colour as the body. www.grupoblux.com

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DX BAR DESIGN

Underscore6 iGuzzini Dean Skira has changed the original version of Underscore with an innovative approach: the result is Underscore6, a system with extremely compact dimensions - only 6mm - provided with an innovative aluminium profile designed to obtain very thin lines of lights and suggestive luminous effects. It is a flexible strip for linear lighting with monochromatic LEDs. www.iguzzini.co.uk

Designer Ab Rogers was once again recruited to create the show’s interior identity, including the centrally located DX Bar. Vibrant, coloured tubes were used Arthur Egmond to form aBrand forest of van trunks, from which sprouted a delicate canopy of OLED panels

by LG Chem, purposely left raw and exposed. “We wanted to celebrate its lightness, its directness,” explained Rogers. www.lgoledlight.com

Cortona Astro Cortona’s large oval of blown opal glass is designed to draw on the emotional pull of ovoid shapes, an effect enhanced by its very even glow of light.

It comes in a choice of two sizes: 240mm and 320mm, both with a maximum drop of 1,800mm. www.astrolighting.co.uk

Atmos Brick in the Wall

Aura Linear Applelec Aura Linear by Applelec is a new range of high-quality aluminium profiles that have been designed for linear LED lighting installations. Providing options for surface, recessed, suspended and decorative LED strip mounting solutions, the profiles are simple to use and elegantly constructed. With a made-to-measure service, the profiles can be supplied in specified lengths (max 2500mm) with a choice of colour temperature or RGB LEDs. Further flexibility is afforded as the profiles are available individually for use with a preferred LED option. www.applelec.co.uk

Looking like a cut on the wall, the Atmos LED fitting from Brick in the Wall, on the Enigma stand, is a great example of how plaster-in lighting can seamlessly transform a space. Quick and easy to install, the Atmos comes with a 7W, 600 lm, high output LED, available in 2700K, 3000K, 4000K and - launched at May Design Series - the new 2200K colour temperature. www.brickinthewall.eu

DX FREIGHT

Exenia Zero Suspension Using a specially diffused PVC shade, Zero Suspension provides a continuous and clean light. Available in a variety of sizes and finishes, the Zero exemplifies the Exenia approach to lighting. www.exenia.eu

The popular DX Freight crates made a welcome return to this year’s May Design Series. Four shipping containers, each representing a different international trade show, were filled with an expert-curated selection of pieces.

Among them was the Light + Buidling crate, which included Bell+ by Darø, Sirens by Trizo21, Versura by Occari, Slimogt by Arkos, and Coppola by Formagenda among others.

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TECHNOLOGY / MAY DESIGN SERIES

Lightcatcher Muunlight

acdc Fusion Fusion is a family of intelligent, highly efficient IP66 architectural floodlights available in two sizes; 24 LEDs delivers 4460 lumens and 48 LEDs delivers 6700 lumens at 3000°K. Each has an unobtrusive, innovative, minimalist design, with fully integrated internal driver and plug and play connection. LED colour options include RGB, RGBW, RGBA, dynamic white, single colour. The LED arrangement provides rapid colour mix from 0.5m. Suitable for environments of up to 50°C ambient – an on board thermal management automatically dims the product when temperatures exceed 50°C with temperature compensation algorithms to ensure colour in consistency even in extreme temperature environments www.acdclighting.co.uk

The Lightcatcher is a largescale pendant lightshade. Viscose fabric is stretched across a graceful wooden frame, acting as a three dimensional ‘light-box’, reflecting the light onto the ceiling whilst creating a stunning lit effect. Though constructed in a standard size of 2.4m long, larger versions of up to 4m are available on request. www.muunlight.com

Living Sculpture 3D Philips Philips had a version of their LivingSculpture 3D module system on show in London for the very first time. The sculpture, composed of separate OLED tiles and linking rods, provided an example of spectacular and dynamic design with light. www.lumiblade-experience.com

3D LED Flex Radiant

Architectural lighting expertise around the show included (from top) Xicato, KKDC, iGuzzini, Applelec and Astro.

The Radiant 3D LED Flex 25 IP 68 is a new addition to the 3D LED Flex range.

The Radiant 3D LED Flex 25 IP 68 is an innovative underwater three dimensionally flexible LED linear lighting system produced in stainless steel which is a world first and was developed for use in the refurbishment of the swimming pool in an iconic Paris hotel. www.radiantlights.co.uk

Pinspot Enigma The pinspot fitting from Enigma Lighting is a simple, versatile and beautiful light. Available in both a track mounted or surface fixing and in a number of metal or RAL finishes, it should suit any kind of space. With lamp options of standard AR111 Halogen, CDMR111 Metal Halide or with our AR111 Array LED lamp, the pinspot can be applied in retail, leisure, domestic and commercial spaces alike. www.enigmalighting.com

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TECHNOLOGY / MAY DESIGN SERIES

Adonis LED Linear

LED Lightline ADO Lights ADO Lights has developed a LED light line that is totally sealed and features an IP68 rating for inside and outside use. The housing is made of an aluminum (12mm width) or stainless steel (20mm width) profile depending on the requirement of the area of use. Straight and curved versions are available, which are produced in a customised length and radius. RGB, white (in different light colours) and also a coloured sealing is possible. www.ado-lights.com

Adonis is a high performance linear light bar with small form factor and the highest standards of design and function in protection class IP67. It has a lumen flux of up to 1,754 lm/m. With the easy installation and high durability, it is ideally suited for many applications in both indoor and outdoor use. Surface mounted, the luminaire uses invisible connections with no light gap. www.led-linear.com

Lumenfacade Inground Lumenpulse The Lumenfacade Inground is an LED luminaire designed specifically for ground-recessed lighting applications, including asymmetric wall washing, grazing, and linear wayfinding. An innovative, plug and play design simplifies installation, protecting the system from water infiltration and ensuring long-lasting performance. The Lumenfacade Inground is available in five different sizes (1, 2, 3, 4 and 6’), with a wide choice of outputs, color temperatures, color-mixing systems, optics and controls. www.lumenpulse.com

Beacon Muse Concord

LEDmix KKDC With clever PCB design and control via their high frequency visDIM sub-controllers, KKDC offer their new, ‘tuneable colour’, LEDmix range. A two-channel white mix is available across two lumen packages, using whites from their renowned high CRI colour temperature suite, to give dynamic blending. Also available is a four-channel RGB-W which uses a tri-chip RGB package with one white from the colour temperature suite.

The PCBs are available within various KKDC standard extrusions to give lighting specifiers extensive creative possibilities of lighting control. www.kkdc.co.uk

The Concord Beacon Muse LED uses cutting-edge technology and ancient lens principles to create a fully adjustable spotlight. The new Muse’s adjustable optic system provides a wide flood 65˚ beam angle which can be adjusted to a 10˚ spot without the need for additional lenses or reflectors.

This fully adjustable spotlight provides all the benefits of LED technology, no UV / IR radiation, 50,000 hours life at 70% luminous flux, maintenance free applications and a considerable reduction in energy consumption over traditional light sources such as halogen. www.concord-lighting.com

Herculed Litpa The LITPA Herculed range provides high power illumination with light outputs of up-to 18,000 lumens at a power consumption of 195 watts resulting in a system efficiency of 95 lm/W. Many models are available with options of colour temperature, beam angle, Power LED or COB. All Herculed fixtures are IP66 rated and tested for exterior use. www.litpa.com

MONOCOVE AC MONO MONOCOVE AC is a powerful and versatile main powered triac dimmable LED cove luminaire available with either 14 or 22 x Samsung LM561B LED per 305mm, with a wide beam distribution. MONOCOVE AC comes in 305mm, 610mm, and 1220mm nominal lengths and 2700K, 3000K or 4000K colour temperatures.

The housing is constructed from extruded aluminium with injection moulded transparent plastic end caps providing a seamless line of light. Integrated “Plug N’ Play” connectors enable quick and easy installation whilst the ratchet style moulded plastic mounting brackets enable the luminaire to be rotated -/+ 15°, for fine tuning of the aiming angle.

Also available in IP65 version. www.monoled.com

INGENIUM® Blu smart lighting control is here...

INGENIUM® Blu App available to download now...

The latest innovation in MEGAMAN®’s 20 years delivering low energy lighting – INGENIUM® Blu gives you full control, via your smart device or remote of the on/off, dimming and scene setting of your environment. It is a simple, accessible and economical LED retrofit solution for those looking for local control of a small, domestic lighting system over Bluetooth.

The INGENIUM® Blu App is available to download now for both iOS and Andriod devices.

Coming Soon - INGENIUM® RF INGENIUM® RF is perfect for larger, scalable installations – allowing you to control the latest MEGAMAN® LED lamp technology from anywhere in the world via a smart device.

Find out more now at: www.ingenium.cc email: info@ingenium.cc

See INGENIUM® Blu in action The Sorting Office, London 18-21 September 2014

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TECHNOLOGY / MAY DESIGN SERIES

Held within the Lighting section of May Design Series, the Designers With Light Forum included a series of talks focusing on the use of light to create well designed spaces.

The inaugural Designers With Light Forum (DWLF) took place during the May Design Series, bringing with it a new approach to lighting seminars. Whereas many conferences around the world are created by the lighting industry for the lighting industry, DWLF aimed to present a more diverse approach. The three-day programme brought together speakers from many design backgrounds - Lighting Designers, Architects, Product Designers, Manufacturers and Inte-

rior Designers - to share the perspectives, experience and knowledge they have gained through working with light.

In many of the talks, speakers from different disciplines took to the stage together to discuss their individual approaches to the same problem or project: lighting designer alongside manufactuer; lighting designer with architect; lighting designer with client.

Theses pairings provided an illuminating and refreshingly frank assessment of how

Top row mondo*arc editor Paul James introduces acdc Design Director Dan Hodgson; Kevin Grant of LIGHTALLIANCE, offers an Essential Guide to Retail Lighting, with help from Sam Woodward of Havells Sylvania Europe; Farhad Rahim, Senior Lighting Designer at ChapmanBDSP discusses the Me Hotel project with architect Nicholas Ling of Foster + Partners.

Middle row A crowd gathers at the Designers With Light Forum arena; John Bullock of JBLD welcomes allcomers to his Conversation About Residential Lighting Design; Mark Major of Speirs + Major discusses the Kingâ&#x20AC;&#x2122;s Cross Central project alongside the project client, Richard Meier of Argent Group.

Bottom row Product designer Terence Woodgate (left) talks about his experience designing light fixtures for major manufacturers and for his own, recently launched lighting brand, and collaborating with light sources specialist Megaman, represented by Project Marketing Manager Ciaran Kiely (right).

productive collaborations can be achieved.

The Forum was organised by mondo*arc and darc magazines in association with May Design Series by UBM and was supported by the International Association of Lighitng Designers (IALD), the Society of Light and Lighting (SLL) and the Society of British and International Design (SBID). DWLF was sponsored by acdc, Anolis, Concord, Lumenpulse and Megaman. www.designerswithlight.com

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THE UK LIGHTING DESIGNER FAMILY TREE

CREATED BY

The new UK Lighting Designers Family Tree was unveiled on Monday at the May Design Series at a drinks event sponsored by Xicato and Mike Stoane Lighting. It features 254 designers and 142 companies in a complex, colourful and crazy pattern depicting your movement from company to company.

Light Collective think it’s important to always remember your roots. The UK lighting industry is an entangled and complex mesh of entwined practices and people which is one of the things that makes it great. We realised that Light Collective is the bastard love child of Andre Tammes and Miles Pinniger, two of the pioneers of the UK lighting industry, with a good chunk of foster care from LightMatters and BDP thrown in along the way.

This spurred us on back in 2011 to try and create a family tree depicting the UK lighting industry. People complained that we had made mistakes or they weren’t included and the lighting industry has moved on so it seemed time for an update.

The 2011 Family Tree had 82 designers, in 2014 there are 254. The 2011 Tree had 47 companies, 2014 has 142. We learnt a lot about the new companies that now exist and show that the UK lighting industry is going from strength to strength.

The gender division across the tree is 70% male and 30% female which either means that we have a long way to go toward equality or the girls were too busy working hard to write to us!

8% of company names start with the word ‘light’ and 57% use the word ‘light’ or ‘lighting’ in the name, with the remainder using a variety of other light related words.It could have been a serious piece of research......but its just for fun.

Let us know if you spot a mistake or see where we have our facts wrong or incomplete. www.lightcollective.net View the new UK Lighting Designer Family Tree online at www.mondoarc.com/familytree/ UK subscribers will find a FREE POSTER of the Family Tree enclosed with this issue.

DID YOU KNOW....? ... Daniel is the most popular male name for a UK lighting designer. ... Laura is the most popular female name. ... 20% of lighting designers on the tree have worked for a manufacturer at one stage in their career. ... a quarter of lighting designers on the tree have worked in companies overseas. ... Xavier Fulbright has worked for the most companies. ... Karolina Zielinska-Dabkowska has the longest name and Ting Ji has the shortest.

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TECHNOLOGY / BENCH TEST

Making its debut at Light+Building and then demonstrated at May Design Series, Xicato’s XIM intelligent module has pretty much been in everyone’s top three most anticipated product launches of the year. David Morgan took a look at it before its release in October.

ARTFUL INTELLIGENCE

The company that was amongst the first to address and solve the colour point variation problem that we all experienced with early high power lighting LEDs has now introduced an ‘intelligent’ dimming module.

Xicato was founded in 2007 by Mark Pugh (President), Menko de Roos (CEO) and Gerard Harbers (CTO), all of whom had extensive experience in the development of the LED lighting industry while working at Lumileds.

They’ve solved the colour point variation problem so successfully by using a remote phosphor configuration incorporating Corrected Cold Phosphor Technology that all Xicato modules are supplied to within a 1 x 2 MacAdam ellipse tolerance. Colour stability is also guaranteed so that any variation within five years will be within 3 MacAdam ellipses around the colour point on the black body locus.

Using unique phosphor combinations and colour mixing, Xicato have been able to create a light quality that is very close to that from halogen lamps.

While lower than average efficiency was an issue with the early Xicato modules, the latest generation of XTM and XIM format modules operate with respectable efficacies of over 100 lm/W. Xicato sells its modules to luminaire manufactures in most developed countries and works hard to promote the benefits to lighting designers, luminaire manufacturers and to end users and by early 2013 more than one million Xicato modules had been sold around the world.

Xicato’s headquarters and manufacturing is based in Silicon Valley and the company has offices in China, Japan, Europe and throughout the US. At Light+Building earlier in April, Xicato introduced a variety of new products including the XIM module, which incorporates a LV dimming driver and a

variety of sensors. Xicato describes this as an intelligent module with integrated electronics.

The XIM module looks very similar to the Xicato XSM and is virtually identical in size. The module runs on 48 volts DC so is still classified as an SELV component which makes integration in many different luminaire types simpler.

There are many advantages for the luminaire manufacturer and for the end user by integrating the driver with the light engine. Luminaire design becomes less complex while the luminaires have the potential to become smaller and more discrete. As all modules will run from the same type of 48V DC power supply, this minimises the difficulty of stocking drivers in different power ratings, drive currents and dimming types. Replacing modules at their end of life or when new more efficient versions become available will be almost as simple as changing a retrofit LED lamp but now with a much higher quality of light.

The initial XIM modules to be launched in

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October in Standard, Artist and Vibrant variants will provide 1,300 lumens and 2,000 lumens with a CRI of 83 or 98. The efficiency is over 100 lm/W for Standard colour temperatures and over 80 lm/W for the Artist series.

While many companies have added LV driver circuitry to their light engines and modules to ease integration with luminaires, the dimming performance of the XIM driver is much better than I have seen before.

The dimming system can be controlled

by DALI or 1â&#x20AC;&#x201C;10V and is based on a less common method of dimming control than is usually used for LED drivers. The dimming system allows smooth dimming down to 0.1% when controlled by a DALI system and ensures there is no noticeable flicker at low dimming levels. It is understood that colour point stability is also improved by using this approach rather than the typical PWM dimming used in many LED drivers.

The driver circuit in the XIM also incorporates a number of sensors. A thermal management system ensures that

the module always operates within safe limits via a feedback loop whereby the drive current is reduced in very high ambient conditions. Voltage and current levels along with run time are digitally recorded and can be remotely monitored via a two way DALI system. Photocells and presence detectors will also be incorporated, in due course, so that the module can be integrated into a building control system or enabled to work independently to ensure maximum energy efficiency of the lighting scheme.

The Xicato XIM module seems set to be widely adopted by the lighting industry for use in high quality projects and I am excited about incorporating them into my luminaire designs. www.xicato.com

Shrinking Corrected Cold Phosphor Technology into a significantly smaller footprint, XIM retains all the benefits of the patented phosphor cooling technology and quality of light and creates space into which chips and electronics can be incorporated.

David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. david@dmadesign.co.uk www.dmadesign.co.uk Š David Morgan Associates 2014

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TECHNOLOGY / LIGHTFAIR INTERNATIONAL

LAST THROW OF THE DICE

With LFI appearing at Las Vegas for the last time before making a welcome return to the refurbished Javits Center in New York City next year and then moving to San Diego the year after, we take a look at the best products on show from this year’s exhibition.

The 25th edition of Lightfair International set new all-time attendance and trade show records for its five-day run in Las Vegas June 1-5.

The LFI 2014 trade show floor covered a record 239,800 net square feet and spotlighted 576 exhibitors, including 107 first-time exhibiting companies and 103 manufacturers headquartered outside the U.S. Attendance broke all previous records with 26,059 professional attendees registered. The LFI 2014 attendee population included representatives from 74 countries.

The event may have been bereft of many true instant design classics (although there were more than in previous years) but, as usual for this show, there was plenty of technology innovation evident. LFI Innovation Awards highlighted the best in new product innovation and celebrated 25 years of innovation by recognising its 25-year exhibitors.

LFI’s expanded trade show floor featured a product mix of more than 40 categories that included integrated design, alternative energy and solar power, OLEDs, healthcare, hospitality, digital signage and software.

The 2014 LFI Conference curriculum offered more than 220 hours of education and contained 81 accredited courses, making it the largest Conference in LFI history. LIGHTFAIR introduced two Forums this year – the LFI Healthcare Lighting Forum and the LFI Hospitality Lighting Forum.

Institute keynote Craig W. Hartman, FAIA, design partner, Skidmore, Owings & Merrill LLP (SOM), presented poetics of light in architecture in “Shadow and Light: Reflections on Architecture”.

Institute keynote Richard Seymour, co-founder and design director, seymourpowell, inspired attendees with a look ahead to the future of design and to the dramatic changes that are turning science fiction into reality in “Organicz: The Organic Digital Interface”. Impact speaker Martin Klaasen, owner, founder and principal, Klaasen Lighting Design, discussed the impact of the fast evolution of LED lighting technology on lighting design and explored the question “Have LEDs High-Jacked the Lighting Design Industry?”.

LED Cylinder Lucifer

Tangent series VoksLyte The Tangent customizable lighting contour series has been expanded to include Meandro (vertical wave) and Onde (parallel waves) 2-inch wide by 3½- inch tall profiles. The sinuous twin curves of the Onde make a beautiful statement, creating a unique luminaire for the office, retail or hospitality space. The Meandro invents a singular visual aesthetic with a luminaire curved along its taller vertical dimension. Both are available in 48-inch standard lengths with custom sizes and contours available. www.vokslyte.com

Sleek, contemporary and surface-mountable in three body sizes.

A unique, self-locking hinge allows for manual hot-aim adjustment that provides up to 45° tilt and 361° swivel rotation. Simple installation to a standard junction box is accommodated by a twist-and-lock mounting plate. Available in lumen packages up to 2850lm (33W), with 25°, 40° and 60° beam angle options. Invisible, integrated 0-10 or TRIAC driver is housed inside the canopy. Use in interior and IP64 wet locations. www.luciferlighting.com

Open LED Peerless

ArcCove Anolis The ArcCove cleverly combines both high light output intensity with cost and energy efficient LED technology to achieve a lighting product that offers a genuine alternative to traditional linear incandescent or fluorescent cove lighting systems. ArcCove has a streamlined profile and various mounting options meaning greater flexibility for a wider variety of applications. The latest LED chip technology combined with a plug and play set up process ensures that impressive effects are simple to create. www.anolis.eu

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Open LED luminaires from Peerless utilize constructive occlusion to produce soft, comfortable Illumination from a lens-free linear form. Available in suspended, recessed and surface forms, Open features direct and I/D distributions plus three unique end cap options – transitional reveal, square reveal and flat conceal. Open can be specified with integrated controls for dimming, occupancy detection, lumen management and networking. The uplight and downlight can be controlled separately. www.peerlesslighting.com

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AOne Lamps Aurora Designed and engineered to perform at 25,000 hours to L70 in enclosed fixtures, Aurora’s L1, ErP compliant AOne Lamps come in 400 - 1700lm. icDOB features an electrolytic capacitor-free IC. Mains voltage single source HVLED eliminates overshadowing and enables smooth, controlled dimming and a performance of 71Lm/W. CrystalCool thermal management removes heat from the LED chip for maximum reliability and lifetime. LEDChroic offers anti-glare, precise diamond-like microfacets with precise beam angles and CRI 80+ 3 year warranty. www.auroralighting.com

Slim Cove INT EcoSense

Washer Allegro AC XB Traxon Designed for outdoor environments, Washer Allegro AC XB is the perfect LED lighting solution for architectural illumination. Offering multiple color options, flexible aiming and various beam spreads, Washer Allegro AC XB is capable of a wide range of flood, direct and indirect illumination. Powered

by AC line voltage and controlled via DMX512, Washer Allegro is a high output, energy efficient, and compact LED lighting solution with easy installation.

Captivating illumination goes hand in hand with true simplicity. www.traxontechnologies.com

The new Slim Cove INT is our smallest line-voltage linear fixture delivering a powerful performance. At 240 lm/LF and an efficacy of 60 lm/w, this ultra slim linear is our most efficient luminaire, measuring in at .9” (23mm) Diameter. The Slim Cove INT links together tightly, eliminating dark socket shadows between fixtures for a seamless design.

This is a non-dimming, easy-to-install solution that is ideal for indoor uses, such as small coves, toe kicks, under cabinet, display, and accent lighting. www.ecosenselighting.com

Lightweave Linear Hubbell

Lumencove Nano Lumenpulse

With no visible frame or border, the Lightweave Linear uses a precision-formed light diffuser to weave light across the visual plane, placing 80% down and 20% up for wide on-center spacing. The uniquely slender profile (smaller in both width and height to the dimensions of a typical smartphone) is designed to provide an unobtrusive and elegant solution for commercial, educational and civic applications. Utilizing a breakthrough application of flexible LED circuit technology with over 200 low brightness LEDs per foot, the luminaire produces 4300 nominal initial lumens with greater than 90% lumen maintenance at 80,000 hours (L90). www.hubbelllighting.com

The Lumencove Nano debuts Lumendrive™, a proprietary and patent-pending ASIC (application-specific integrated circuit) technology, which drives LEDs directly, eliminating the dependence on power supplies. Lumendrive digitally powers and controls LEDs directly from the AC mains. By dispensing with a power supply, the technology provides multiple benefits, including smaller size, a lifetime no longer restricted by third-party components, and outstanding efficiency. Available in 3- and 6-watt versions, the Lumencove Nano delivers up to 100 lm/W and up to 559 lumens per foot. www.lumenpulse.com

ONYX Griven ONYX features an incomparably functional, ultra-narrow, sharp, long-shot beam of light capable of reaching previously unthinkable distances with amazing precision and even light distribution. ONYX is fitted with a combination of 96 RGBW, cold, warm or dynamic white high brightness LEDs that provide an unprecedented astonishing white light output quality, a bright colour perception and a stunning visual rendering of warm tones, natural hues and cool shades altogether. www.griven.com

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Arceos Spaulding Lighting

funis m Bion Technologies Designed by Francesco Chincarini stringent design meets the LED pendant luminaire. “Straight-lined and puristic, no more, no less!”, that was the simple concept of Chincarini when he designed this decorative pendant luminaire funis m. We think the result speaks for itself.

Puristic design doesn’t mean inflexible design; the finish can be from high gloss to matt in any color you can think of.

Exiting from a lamp height of 155mm, two new lengths – 310 mm and 465 mm are now available. www.biontechnologies.com

Light engines Soraa Soraa’s new light engines use 50% less power and have a higher center beam intensity (CBCP) than current integral LED fixtures. The engines also allow fixtures to be 50% smaller due to their small diameter and low profile, and the novel heatsink design enables low temperature operation and a lifetime of 50,000 hours.

Features include Point Source Optics for beautiful, uniform beams of high intensity; and VP3 Vivid Color (CRI-95 and R9-95) and VP3 Natural White, revealing the magic of whiteness and colours in every environment. www.soraa.com

Spaulding Lighting showed a new line of high performance, beautifully designed LED fixtures. The Arceos area and site luminaire (ARA 1, 2 and 3) has an internalized heat sink in its smooth, sleek and modern housing and comes in three different sizes. The compact Arceos architectural floodlights (ARF 1, 2, 3, and 4) deliver excellent uniformity, optimum performance and energy savings in four different sizes. Arceos garage fixture (ARS) also has a smooth architectural housing design with internal heat sink and comes in three lumen packages meeting RP-21 requirements. www.spauldinglighting.com

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Skybar Metalux

Mini Multiple Spots WAC Lighting LED Mini Multiple Spots are marketed as complete units including the housing and trim. Available as one, two and three-light configurations, each spot is individually adjustable and provides a 30-degree visual cutoff for glare control. These luminaires deliver up to 755 lumens per light while using only 11 watts of power; comparable to a 50-watt MR16 halogen fixture, meeting California Title 24 Efficiency.

The 120-volt Mini LED Multiple Spots feature a CRI of up to 90 and a color temperature of 3000K. Rated life of 50,000 hours and the capability to dim down to 10 percent. www.waclighting.com

The first high bay luminaire to offer uplight and adjustable optical blades, the Metalux Skybar from Cooper Lighting by Eaton incorporates patented WaveStream LED optical technology to efficiently improve light quality and distribution for indoor high bay commercial, retail and industrial applications.

This aesthetic design allows the product to be used in more ambiance-sensitive environments, while eliminating the ‘cave effect’ found in traditional high bay solutions. The WaveStream LED technology features laser-precise AccuAim optics arranged in exacting patterns, providing unparalleled brightness control while delivering the maximum amount of light on task. www.cooperlighting.com/skybar

Concept AR-14 OLED Acuity Brands The Concept AR-14 OLED luminaire re-defines the direct/indirect linear form through ground-breaking blends of light sources, forms and materials.

Luminous convex OLED downlight panels - using bendable bar-type OLED panels - alternate with curved concave frosted acrylic panels. The panels envelope a central extruded aluminum center channel housing a high-performance uplight LED optic. This striking luminaire not only delivers glare-free light, but also adds whimsy and elegance. www.acuitybrands.com/oled

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LUXEON CoB CrispWhite Philips Lumileds LUXEON CoB with CrispWhite Technology was awarded the LFI Innovation Award in the category of LED/OLED Chips and Modules. The LED was developed specifically for retail applications including downlights and spotlights where the truest color representation is desired by store owners and retail customers.

CrispWhite is offered throughout the LUXEON chip-on-board (CoB) line of arrays. These arrays feature the highest combination of efficacy and lumen density in the industry, with a lumen range of 1,000-10,000 lm and typical efficacy of 100 lm/W. www.philipslumileds.com

ECOdrive eldoLED

Gravity Intense Lighting GRAVITY, the high lumen LED downlight series that delivers up to 7500 lumens, is ideal for ceiling heights up to 100 feet plus. Gravity features field changeable and precise center beam optics that distribute directional light exactly where needed. Adjustable models feature 40º vertical adjustment, horizontal rotation locking and vertical aiming locking for maximum control. Lutron Hi-Lume, EcoSystem, 0-10V, DALI and DMX dimming options are available. www.intenselighting.com

eldoLED’s ECOdrive LED driver sets a new standard by offering true 1% flicker-free Natural Dimming for every fixture at an economical value, enabling many mainstream applications.

ECOdrive is the most extensive programmable driver in its range: you can set dimming parameters, LED output currents in 25mA steps, and more. It works seamlessly together with LED modules, controls and intelligent luminaire elements like LEDcode sensor boards, creating a better lighting experience and adding value for user and luminaire manufacturer. www.eldoled.com/ecodrive

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Gen II CLS40/80 Harvard

TRYBECA Reggiani Stemming from a revolutionary new approach that combines the study of lighting shapes, materials, and options, TRYBECA is a family of recessed ceiling mounted luminaires with an elegant and minimalist design. The product family is composed of three basic shapes (square, rectangular and round) in four sizes.

Each product is available with trim or as a trimless fixture, and includes three different spacers to provide recessed, flush or drop mounting options. The built-in reflector is made from high performance metallized polymers, and is designed to maximize luminous emission. www.reggiani.com

Harvard’s Gen II LEDeng range of offthe-shelf LED light engines consists of 24mm and 40mm wide strips in both high and low voltage variants, two panel light engines, and a circular light engine. Providing a very efficient light source of up to 143lm/W with a Colour Rendering Index of 80, the light engines are available in a 3,000, 3,500 or 4,000 Kelvin colour temperature, with options of NTC and Emergency available. The Gen II LEDeng range has been designed in conjunction with the CLS80 and CLS40 CoolLED linear drivers to provide a complete LED solution. www.harvardeng.com

MOON Hess

MOON is an architectural LED bollard for low-level pathway applications. The slender rectangular design is elegantly punctuated by a circular opening. LEDs on one or both sides of the beveled opening produce asymmetric or bi-directional distributions. The bollard creates a striking visual when illuminated, producing a corona, effectively blending function with art. All hardware is stainless steel. www.hessamerica.com

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Fresco touchscreen Acuity Controls Fresco touchscreen enables intuitive control of traditional, colour changing and tunable white light sources, as well as moving fixtures, to create visual impact in high performance spaces. Users easily manage key aspects of lighting including intensity, colour, colour temperature, energy and position. The Fresco touchscreen can manage up to 36 zones, or can be connected to as many as seven additional stations to control up to 288 zones, bringing versatility to any space. Fresco controls lighting through traditional line-voltage dimmed circuits, switching, 0-10V, DALI, nLight technology and DMX/RDM. www.acuitycontrols.com

Axenia LC Zenaro Most notable among Zenaro’s newly listed Energy Star and DesignLights Consortium (DLC) listed products is the Axenia LC thin panel series, providing an LED solution for a wide range of retrofit lighting including offices, medical facilities, schools, factories and much more.

The panels make conventional sheet metal troffers obsolete. www.zenarolighting.com

Kick Architectural Area Lighting Beautiful contemporary design meets high performance lighting with Architectural Area Lighting’s new Kick luminaire.

Available in a 4-inch square profile with 6500 lumen output or a 5-inch profile with 13,000 lumen output, AAL’s new contemporary urban luminaires are the perfect street and pedestrian fixture up mounting heights of 25’. The Kick comes in multiple color temperatures (3000K, 4200K and 5100K); three optical distributions; is UL wet listed, IP65; and can be mounted as a single, double, triple or quad. www.aal.net

RING Beta Calco RING is Beta-Calco’s impressive new offering that creates a design statement for contemporary and traditional architectural interiors. The ring of light is both decorative and functional, featuring high-powered LEDs that provide practical levels of illumination.

Available in seven standard diameters, it can also be manufactured in any diameter as a special order and can be specified with direct illumination or a combination of direct and indirect illumination with dimming. www.betacalco.com

MR16 Chameleon Ledzworld

LuxiTune Generation 3.0 LED Engin LuxiTune Generation 3.0 features a 2200 lumen emitter, equivalent to a 120W halogen lamp, that delivers smooth halogen-style dimming from 1600K to 3000K and Correlated Color Temperature (CCT) tuning between 2100K and 4300K. Both tuning curves track the black body curve closely and light intensity (flux) is adjustable from 100% to less than 0.5%, giving lighting designers unprecedented creative freedom. www.ledengin.com

This MR16 Chameleon LED lamp now has a CRI of 98. The Chameleon driver adjusts itself to its environment by first detecting the transformer type, then analyzing its waveform and finally adjusting itself to make a perfect electrical fit with that particular transformer.

Utilizing Ledzworld’s CTA 2.0 technology, the lamp perfectly emulates the colour tones of halogens when dimmed.

The Chameleon gradually transforms from a bright soft tone at the highest level, to a warm flame colour at the lowest level with CCT ranging from 2700K to 1600K. www.ledzworld.com

TANGENT UP DOWN ™

Guildford Town Center - Vancouver, BC • Design: Musson Cattell Mackey Partnership - Vancouver, BC and Pivotal Lighting Design - Seattle, WA

Merging the art of metal and the science of light

ONDE ™

www.VoksLyte.com

MEANDRO ™

Made in the USA

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MegaLum Cylinder Prescolite

Slim Surroundlite pendant Axis

Delivering over 12,000 lumens out of a 10” cylinder with only 168 watts of input power, the MegaLum Cylinder uniformly illuminates large, open spaces including convention centers, airports, auditoriums, churches, and performing arts centers. And the fixture’s beautifully spun reflectors create precise optical control in 25 degree, 35 degree, 45 degree, and 55 degree distributions.

With a rated minimum of 50,000 hours life, the MegaLum Cylinder ensures lasting maintenance-free operation—a tremendous benefit at very high ceiling heights.

Available in four lumen packages (3,000, 6,000, 9,000 and 12,000) and five color temperatures (2700K, 3000K, 3500K, 4000K and 5000K). www.prescolite.com

Slim pendant with Surroundlite spherical 3D optics provide wide batwing distributions in all planes along and across for greater lighting effectiveness.

Integral driver construction in a shallow 1 3/8” profile allows for simple low cost installation. The first louver optic in a shallow light guide luminaire yields balanced brightness and the first 8-foot continuous light guide optical system and first deep regressed available with five different light distributions. www.axislighting.com

Sapphire Leviton The Sapphire 7-inch Wall Mount LCD Capacitive Touch Screen Controller provides an easy-to-use, customizable graphical interface for controlling lighting within a facility. Sophisticated, yet user-friendly, the system features an 800 x 480 WVGA backlit screen with 24-bit color display, 130° x 110° viewing angle and elegant, low-profile design in multiple finishes that blend with any interior décor. Customers can customize the graphical user interface via a WYSIWYG screen creation tool. www.leviton.com/sapphire

Divide Series Corelite

Micro-T Lay-In LED Panel Maxlite Designed with precision MicroCell louvers and architectural styling, MaxLite’s Micro-T Lay-In LED Panel offers the simplicity of a lay-in panel with excellent efficiency and a premium appearance for demanding interior designs.

The new Micro-T panel is designed for challenging architectural and specification applications such as banks, corporate campuses, academic institutions and health care facilities. The Micro-T consumes less energy and offers higher candle power levels than traditional direct lit or edge lit flat panels. www.maxlite.com

Incorporating patented WaveStream LED technology, the architecturally inspired family of recessed, suspended, surface and wall luminaires from Cooper Lighting by Eaton is an energy efficient and affordable solution, providing up to 79 percent energy savings for commercial buildings. Eaton’s WaveStream LED technology allows for the Divide series’ low profile design, which satisfies limited plenum space for recessed troffer-type products and meets the desired contemporary look for pendant, surface and wall fixtures. www.cooperlighting.com/wavestream

VESSEL 3M + Todd Bracher For their second collaboration, 3M Architectural Markets and designer Todd Bracher have paired their respective engineering smarts and design sensibility for VESSEL by 3M + Todd Bracher. Initially available as a pendant or sconce, this crystal clear cylindrical light is made of durable and elegant quartz crystal.

Designed especially for the hospitality market, with the restaurant industry in mind, VESSEL is perfectly calibrated to eliminate residual LED glare and cast the table, bar or wall in a soft circle of uniform white light. www.3m.com

RING THE AESTHETIC AND TECHNICAL SOLUTION FOR ARCHITECTURAL LIGHTING.

WEB PIN™ 100

Visit the new betacalco.com to learn more.

www.betacalco.com

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LDN series Lithonia

Archetype X Kim Lighting

LDN series downlights use a unique mixing chamber design to ensure uniform light output without pixilation, and an attractive shielding angle to create a quiet, glare-free ceiling. The LDN Series delivers lumen packages from 600L to 2000L and ideal 1.0 spacing for general illumination. An advanced LED driver enables dimming of the fixture to 10 percent of initial output. Multiple trim colors and finishes, as well as open and wall wash styles provide variations for décor preferences. The LDN Series LED downlight has a CRI of more than 80 and is available in four color temperatures: 2700K, 3000K, 3500K and 4000K. It features an expected service life of 50,000 hours at 70 percent lumen maintenance. www.lithonia.acuitybrands.com/LDN

With the new LEAR (Light Engine Adjustable Ready) module, a concept that brings unparalleled flexibility, Kim Lighting has developed the first outdoor luminaires with independently adjustable LED emitters. This fully customisable distribution solution is available in Kim’s new ArcheType X Flood and ArcheType X Wall Luminaires in a choice of three versatile sizes - 9 (3x3), 16 (4x4) or 25 (5x5) LEAR Module Confi gurations; 54, 96 or 150 LED options; 3,000, 4,200 and 5,100k color temperatures; 10,500+, 19,000+ and 30,000+ lumen packages. www.kimlighting.com

ThoroLED Bendable Fulham Fulham’s new ThoroLED brand Bendable LED Modules are designed to go where traditional LED modules cannot, conforming to desired curvatures for architectural applications. Their Metal Core PCB (MCPCB) design provides superior thermal management, and their flexibility makes them suitable for internal and external bent surfaces. These highly efficient LEDs are available in all common white color temperatures. An optional conformal coating equips them for outdoor use. These UL Recognized bendable boards are available in both custom and standard sizes. www.fulham.com

Stylage Schréder

Whisper LED Mark Architectural Lighting Whisper LED delivers 91 lumens per watt for quality illumination and reduced energy costs. The clean and simple aesthetic of Whisper LED luminaires make it ideal for architectural interiors in business and institutional settings such as offices, schools and hospitals.

Whisper LED luminaires feature softwhite or micro embossed refractive optics for the center panel, and a variety of lens options to create maximum visual comfort for room occupants.

Featuring eldoLED drivers, Whisper LED luminaires boast ultra-smooth dimming resolution from 100 percent to less than 1 percent. www.marklighting.com

Thanks to a modern twist on a classic design, the Stylage is the ideal tool to create aesthetic consistency in cities composed of a mixture of heritage and modern architecture and who wish to highlight their historical patrimony while accentuating their commitment to the future. Equipped with the performing LensoFlex2 LED engine, the Stylage offers a high performance with energy savings that can exceed 75% compared to luminaires fitted with traditional light sources. This efficiency lowers its payback time. www.schreder.com

Wireless Occupancy Sensor WattStopper

Enjoy faster, simpler installation with preconfigured wireless occupancy sensor kits, resulting in significant savings on labor and materials. Each kit includes an RF switch and a self-powered wireless 360° PIR sensor, pre-paired to operate together out of the box.

The sensor includes magnetic and adhesive surface mount options. The one-load kit is factory configured for manual-on operation whilst the twoload kit, with industry-exclusive dual relay switch, is factory configured for automatic-on to 50%. www.wattstopper.com

W2 Adjustable Architectural Downlight

GEAR DRIVEN ADJUSTMENT HOT AIMING 95+ CRI (XICATO) INVISIBLE LIGHT SOURCE HEIGHT ADJUSTABLE 355 ROTATION / 0-40 TILT LOCKABLE GLARE FREE FIT DIFFERENT CEILING THICKNESS (3) ACC.ACCOMMODATION DALI / 0-10V / TRIAC DIMMABLE SEVERAL TRIM FINISH OPTIONS 2 STEP MacADAM ELLIPSE COLOR UNIFORMITY

www.macrongroup.com / macron@macrongroup.com TEL: +886 4 22708357

is registered trademark of XICATO

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TECHNOLOGY / LIGHTFAIR INTERNATIONAL, PHILADELPHIA, USA TECHNOLOGY / LIGHTFAIR INTERNATIONAL - IALD AWARDS

SACRED HEART For the seventh year in a row a European practice walked away with the highest accolade at the IALD International Lighting Design Awards, recognised at a presentation held during LFI in Las Vegas. And for a record fourth time it went to Speirs + Major!

RADIANCE AWARD PROJECT: IN LUMINE TUO, UTRECHT, THE NETHERLANDS LIGHTING DESIGN: SPEIRS + MAJOR Speirs + Major received this honour for the fourth time (but the first since 2010), accepted by principal Keith Bradshaw, for this dynamic project. In Lumine Tuo uses light as a narrative tool to connect the iconic Dom Tower with the Dom Church and Dom Square, allowing these elements to become living, breathing entities. The scheme needed to be completed within a tight budget and under close scrutiny from city commission and heritage inspectors. “A wonderful, discreet, though entertaining scheme,” one judge commented of the project. “Absolutely extraordinary for a sacred building!”

Beginning with a masterplan of the district, an idea evolved that viewed the city, the district and the buildings as a living organism, with the ‘body’ made up of the iconic Dom Tower, Church and Square. All three elements are viewed as important members of society that have been both observers and participants in the history and development of Utrecht. Light enables the structures to come to life, breathe, connect with each other and communicate with people in the city about the past and the present.

The church has a passive, respectful design based on the philosophy ‘light comes from within’. The outside faces are kept relatively dark, allowing light to glow through the stained glass windows and internal faces of the buttresses, creating a lantern-like effect.

In direct contrast to the restrained lighting of the church, the Dom Tower is the showpiece, the dynamic element and the main communicator. The dramatic lighting sets off the Gothic architecture, and is visible from many parts of the city.

“This dynamic and original design delights the eye as it celebrates the architecture of the tower,” another judge praised of the project.

A light sequence is programmed in time with the Dom Tower’s clock. The church, square and the tower begin slowly to ‘breathe’ in unity, establishing a connection and creating a conversation between each other. The play of light accelerates, while memories, represented as bursts of light, appear to ascend the tower. The sequence culminates just before the striking of the hour with a dramatic finale in the lantern, where memories cluster in the ‘brain’ of the Tower, and multiple bursts of light and patterns are unleashed to the sounds of pealing bells.

With almost entirely LED-based components and a well-finessed control program, the scheme is energy efficient and maintenance friendly. Mounting devices had to be custom made for each location, as no drilling was allowed into the stonework and no sources allowed to be viewed from below. The scheme was scrutinised by the city commission and heritage inspectors, with all details and drawings inspected and approved prior to construction.

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EXCELLENCE AWARD PROJECT: VENTURE CAPITAL OFFICE BUILDING, MENLO PARK, USA LIGHTING DESIGN: SEAN O’CONNOR LIGHTING Built from prefabricated modules of wood, steel, terrazzo and glass, the highly coordinated and detailed lighting design for this Venture Capital Office Building consists exclusively of LED luminaires, using only three fixture types for the interior, two of which were custom developed specifically for this project. The use of bleeding-edge LED technology, software-based lighting controls with daylight harvesting, and a building management system results in a lighting design that is intelligent, responsive and comfortable with an interior connected load of only 0.62 watts per square foot.

One judge stated that the project is “elegant, sophisticated, yet restrained” and “an excellent example of fully integrated architectural lighting.”

EXCELLENCE AWARD PROJECT: RED BULL MUSIC ACADEMY, NEW YORK, USA LIGHTING DESIGN: TILLOTSON LIGHTING DESIGN Four vacant floors in New York’s Chelsea neighbourhood were transformed into a series of meeting spaces, galleries and recording studios for the Red Bull Music Academy. The architecture and lighting create an atmosphere of experimentation intended to spark creativity and collaboration among top musicians around the world.

The interior lighting is essential to dramatically transform the space from day to night, supporting the many events held within.

“Bold and unusual lighting choices help to distinguish one space from another and create a dynamic, contemporary experience,” one judge commented of the project.

EXCELLENCE AWARD PROJECT: HEYDAR ALIYEV CULTURAL CENTER, BAKU, AZERBAIJAN LIGHTING DESIGN: MAURICE BRILL LIGHTING DESIGN The fluid form of the Heydar Aliyev Cultural Center is created by a single surface, where the floor becomes the wall, which then becomes the ceiling. Lighting responds to the challenge of the constantly varying geometry and expresses the sculptural quality of the building by using light to model the surfaces of the building both internally and externally. Key lighting solutions include 3D curved fluorescent lighting recessed in the building skin, 3D curved IP68 floor light troughs and a high- powered LED lighting system for the auditorium.

“The smooth, soft flow of light across the project beautifully conveys the architecture,” one judge praised of the lighting integration.

JAPANESE アメリカ合衆国ネバタ州のルネッサンス・ラ スベガス・ホテルにて、7月4日にプレゼン テーションを行った、第31回国際照明デザ イナー協会（IALD）主催の国際照明デザイ ンアワードを、10カ国から集う建築照明デ ザインプロジェクトを代表して16組が受賞 し、IALDアワードの受賞プロジェクトのま すますの多様性を体現していました。16の プロジェクトの内、4つには特別賞、5つには メリット賞、7つにはエクセレンス賞が授与さ れました。 全カテゴリーの中で最高得点をマークし、 加えてエクセレンス賞をプロジェクトとして 受賞すると、照明デザイン分野のIALDラデ ィエンス・アワード・フォー・エクセレンスが 授与されます。スペアーズ・アンド・メージャ ーは2010年より初めてこの栄冠を手にし、 オランダ、ユトレヒト市のイン・ルミネ・トゥ

CHINESE

各类获奖项目中，得分最高的项目除获得卓越 奖外，还同时获得 ILAD 光辉奖 (Radiance Award)。本届光辉奖获得者为 Speirs + Major，获奖项目为荷兰市乌特勒支市 IN LUMINE TUO，领奖人为 Kevin Bradshaw，这 是其自 2010 年以来首次获得此奖项。 这也是 Speirs + Major 第四次荣获 IALD 光 辉奖，之前的获奖项目包括阿布扎比大清真寺 (Grand Mosque of Abu Dhabi)、与 Foster + Partners 合作的 3 More London Riverside 项目和与 Rogers, Stirk Harbour+ Partner’s 合作的马德里巴拉哈斯国际机场。

2014 年 6 月 4 日，国际照明设计师协会 (IALD) 主办的第 31 届国际照明设计奖年度 颁奖典礼在美国内华达州拉斯维加斯万丽酒 店举行，来自 10 个国家——这代表着 IALD 奖的得奖群体日益多样化——的 16 个建筑照 明设计项目荣获 IALD 大奖。16 个获奖项目 中，四个项目获特别提名奖 (Special Citation) ，五个项目获优秀奖 (Awards of Merit)，七个 项目获卓越奖 (Awards of Excellence)。

Lors de la remise des prix de la 31e édition annuelle du Prix IALD de l’Association Internationale des Concepteurs d’Eclairage le 4 juin à l’Hôtel Renaissance Las Vegas à Las Vegas aux États-Unis, seize lauréats, de dix pays différents ayant présenté des projets de création d’éclairage architectural, ont été reconnus.

オのケビン・ブラッドショーに承認されまし た。 この会社が本アワードを受賞するのは4度目 です。以前この会社はアブダビ・グランドモ スク、フォスター+パートナーズ設計の3モア ロンドン・リバーサイド、そしてロジャース・ スターク・ハーバー＋パートナーズ設計のマ ドリード・バラジャス空港でラディエンス・ア ワードを受賞しています。

FRANÇAIS

Ceci représente un groupe très diversifié de projets primés. Parmi les seize projets récompensés, quatre d’entre eux ont reçu une mention spéciale, cinq une mention honorifique et sept ont reçus une mention d’excellence.

Le projet ayant réuni le meilleur score en toutes catégories, en plus d’avoir reçu une mention d’excellence, a aussi décroché le Prix d’excellence et de portée de conception d’éclairage de l’IALD. Pour la première fois depuis 2010, c’est à Speirs & Major qu’est revenu cet honneur et Kevin Bradshaw, s’est réjoui de l’accepter pour IN LUMINE TUO à Utrecht, aux Pays-Bas. C’est la quatrième fois qu’il remporte le prix. L’entreprise avait auparavant gagné le Prix d’excellence et de portée pour la Grande Mosquée d’Abou Dhabi, le projet 3 More London Riverside de Foster + Partners, et l’aéroport international Barajas de Madrid avec la firme Roger Stirk Harbour + Partner.

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TECHNOLOGY / LIGHTFAIR INTERNATIONAL - IALD AWARDS

EXCELLENCE AWARD PROJECT: BRANZ KOSHIEN, HYOGO, JAPAN LIGHTING DESIGN: AKARI+DESIGN ASSOCIATES This apartment complex was built in Koshien, a historic town near Osaka, Japan. The walls of tile and stone visually represent the natural beauty of the area, and the lighting design conveys the prefecture’s rich history. Visual continuity in the lobby is achieved by using tiles from the walls in bespoke pendants. All light sources are LED. On the building’s exterior, long linear LEDs buried in the ground light up the walls and benches, highlighting the building’s form and the impressive materials used. LEDs are sealed in a waterproof plastic clear case. On residence floors, 75mm-diameter cylinders house 5W LEDs to illuminate the floor rhythmically.

“A simple building is transformed by the connections between lighting, texture and materials,” one judge praised of the project.

EXCELLENCE AWARD PROJECT: HANJIE WANDA PLAZA, HUBEI, CHINA LIGHTING DESIGN: BIAD ZHENG JIANWEI LIGHTING STUDIO Compared to normal media façades, the lighting approach for Hanjie Wanda Plaza is a more integrated architectural lighting solution. The façade of the building, which is made of more than 40,000 reflective metal spheres, is a lighting surface for both day and night.

During daytime, the building interacts with and reflects daylight. At night, the lighting system is fully integrated into the spheres, creating a medial light curtain with two layers of light. The independent media layers create a true depth of field.

“This project stands out because of the seamless integration of lighting, architecture, programming and video,” one judge commented.

EXCELLENCE AWARD PROJECT: MEMORIAL TO THE VICTIMS OF VIOLENCE CHAPULTEPEC PARK, MEXICO CITY, MEXICO LIGHTING DESIGN: LIGHTEAM Created in recognition of the political and social turmoil resulting from the ongoing context of violence in Mexico, the project is composed of a series of steel plates, some weathered and some reflective, placed on a water mirror. Light helps articulate these elements as an allegory of that which is now absent in materiality, but forever present in our individual and collective memory.

“The processional aspect of the lighting design leads and guides the visitor, revealing and reinforcing the message of the memorial,” one judge commented. “As the daylight fades, the focus strengthens, punctuating the forms and messages through the restrained use of light.”

DEUTSCH Sechzehn Preisträger für architektonische Beleuchtungsdesignprojekte aus zehn Ländern—Vertreter einer zunehmend vielfältigen Gruppe von Siegerprojekten für die IALD-Auszeichnungen —einschließlich der Sieger des 31. Annual International Association of Lighting Designers (IALD) International Lighting Design Awards, die bei einer Veranstaltung, die am 4. Juni im Renaissance Las Vegas Hotel in Las Vegas, NV USA, stattgefunden hat, ausgezeichnet wurden. Von den sechzehn anerkannten Projekten erhielten vier eine ehrenvolle Erwähnung, fünf wurden mit dem Awards of Merit ausgezeichnet und sieben mit dem Awards of Excellence.

Der Sieger mit der höchsten Punktzahl in sämtlichen Kategorien erhielt neben einem Award of Excellence für sein Projekt den IALD Radiance Award for Excellence für Beleuchtungsdesign. Speirs + Major kam diese Ehre zum ersten Mal seit 2010 zuteil, angenommen

durch Kevin Bradshaw für IN LUMINE TUO in Utrecht, den Niederlanden.

Sie haben diese Auszeichnung zum vierten Mal gewonnen. Zuvor hat die Firma bereits Radiance Awards für die Große Moschee in Abu Dhabi, Foster + Partners 3 More London Riverside, und Rogers, Stirk Harbour + Partner’s Barajas Internationalen Flughafen in Madrid erhalten.

ITALIANO Sono sedici i vincitori del premio IALD, provenienti da dieci paesi, che rappresentano I progetti architetturali di design luci. Essi, inoltre, rappresentano un gruppo sempre più variegato di progetti premiati dall’ IALD e comprendono i vincitori del 31° anniversario del premio, riconosciuti ad una presentazione che si è tenuta il 4 giugno presso il Renaissance Las Vegas Hotel a Las Vegas (Nevada- USA). Tra i sedici progetti riconosciuti, quattro hanno avuto un riconoscimento speciale, cinque hanno vinto il premio di merito e sette quello

di eccellenza.

Il vincitore che ha ottenuto il punteggio più alto in tutte le categorie, oltre a ricevere un premio di eccellenza per il proprio progetto, riceve l’ IALD Radiance Award for Excellence in Lighting Design (che permettere di decretare il vincitore assoluto della competizione). Speirs + Major ha ricevuto questo onore per la prima volta dal 2010, accolto da Kevin Bradshaw per IN LUMINE TUO ad Utrecht, Paesi Bassi.

E’ la quarta volta che Speirs + Major vince questo premio. Precedentemente la ditta ha vinto il Radiance Award per la Grande Moschea di Abu Dhabi, Foster + Partners per il 3 More Riverside di Londra e Rogers, Stirk Harbour + Partner per l’aeroporto Internazionale Barajas di Madrid.

ESPAÑOL Dieciséis galardonados, que representan proyectos de diseño de iluminación arquitectónicos pertenecientes a diez países -que representan a un variado grupo de

proyectos ganadores del premio IALD –son quienes integran a los ganadores de 31o Premio Internacional Anual de Diseño de Iluminación, (IALD), de la Asociación de Diseñadores de Iluminación, y fueron reconocidos en una presentación llevada a cabo el 4 de Junio en el Hotel Renaissance Las Vegas en Las Vegas, Nevada, Estados Unidos. De los dieciséis proyectos reconocidos, cuatro ganaron una Mención Especial, cinco de ellos Premios al Mérito y siete ganaron Premios a la Excelencia.

El ganador con mayor puntaje en todas las categorías, además de recibir un Premio a la Excelencia por su proyecto, recibe el Premio Radiance IALD por la Excelencia en el Diseño de Iluminación. Speirs + Major recibió este honor por primera vez desde 2010, recibido por Kevin Bradshaw, por IN LUMINE TUO en Utrecht, Holanda. Es la cuarta vez que ganan el premio. Anteriormente, la empresa ganó Premios Radiance por el Grand Mosque de Abu Dhabi, Foster + Partners 3 More London Riverside, y Rogers, Stirk Harbour + Partner del Aeropuerto Internacional Barajas en Madrid.

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TECHNOLOGY / LIGHTFAIR INTERNATIONAL - IALD AWARDS

MERIT AWARD PROJECT: ST MORITZ CHURCH, AUGSBURG, GERMANY LIGHTING DESIGN: MINDSEYE Respecting the architect’s ethos of minimal design, the design team set out to ensure the luminaires were obscured from view and that the light spoke for itself. Through 260mm ventilation holes, deep- recessed 250 Watt metal halide narrow-beam spotlights with ribbed glass spreaders provide the basic lighting of the nave.

“The lighting design skillfully uses architectural integration to minimize view of hardware, keeping the focus on the divine,” one judge commented.

MERIT AWARD PROJECT: 171 COLLINS STREET, MELBOURNE, AUSTRALIA LIGHTING DESIGN: ELECTROLIGHT 171 Collins Street resides in the ‘Paris’ end of Melbourne, regarded for its architecture and style. The lighting epitomises the sophistication of the space. “I love the minimalistic use of lighting elements,” one judge stated when evaluating the project.

A glowing line at the base of the stone wall visually defines the perimeter of the entry, atrium and lobby, creating the illusion of illuminating the full height of the stone wall. The travertine is precisely illuminated using a range of different techniques, including traditional wall washing, grazing and spotlighting.

MERIT AWARD PROJECT: STARLIGHT, NEW YORK, USA LIGHTING DESIGN: COOPER JOSEPH STUDIO This site-specific light sculpture marks a new era for the Museum of the City of New York, igniting the majestic circular stair at the heart of the historic interior. As visitors move between floors, the optical effects inherent in the geometry of a uniform spatial grid generate an array of dynamic patterns.

Each light diode, or pixel, is constructed from double-sided circuit boards, on which white LED chips are mounted. The light focuses public engagement in a way the Museum has not seen in years, joining old and new in one phenomenon.

MERIT AWARD PROJECT: CENTENNIAL ANNIVERSARY HALL, FUKUOKA, JAPAN LIGHTING DESIGN: IZUMI YAYOSHI LIGHTING DESIGN This building was built in celebration of the Centennial Anniversary of the Kyushu Institute of Technology. High-power LEDs were used as light sources from the edge of 40mm-thick acrylic. Despite eight metre ceilings, the design team was able to achieve the necessary 500+ lux with the LEDs’ beam power.

“The lighting design gestures in this project are comprehensive, bold and insistent,” one judge stated.

MERIT AWARD PROJECT: AKA BEVERLY HILLS, BEVERLY HILLS, USA LIGHTING DESIGN: OCULUS LIGHT STUDIO For the AKA Beverly Hills, the design team was tasked to remodel an existing apartment building into an extended-stay boutique hotel. The lighting brief featured two major challenges. The first was to create a unique visual impression both from the street and from within the hotel. The second was to address compatibility with existing building conditions and city requirements for glare and ‘visual noise’.

“This attractive project demonstrates the power of light to transform architectural space,” one judge praised of the remodel.

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

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146

TECHNOLOGY / GUANGZHOU INTERNATIONAL LIGHTING EXHIBITION

RIVER PEARLS A handful of highlights from this year’s Guangzhou International Lighting Exhibition.

The Guangzhou International Lighting Exhibition has again provided an impressive demonstration of the growth of Asia’s lighting and LED market as well as the growing significance of the region to the international lighting community.

In total, 2,621 brands from 25 countries and regions exhibited this year’s fair, utilising a record-breaking 21 halls across 225,000 sqm of space.

Meanwhile, visitor numbers increased by 11% compared to last year with the final count being 129,885 from 132 countries and regions. The level of visitor internationality also rose, with the countries and regions represented at the fair increasing by 9.17%.

Celebrating its 19th edition this year, the fair has grown to become both a comprehensive and in-depth showcase of virtually the entire supply chain of lighting and LED technologies.

With the support of government and industry associations, country and regional pavilions that participated this year hailed from Hong Kong, Korea, Taiwan, the US and for the first time, Japan. Pavilion participation added value to the show by bringing innovative companies and products, as well as showcasing the core competencies of the lighting and LED industry from a country and regional level.

At the 2014 show, many exhibitors showcased smart lighting applications and products including drivers and control systems. The spotlight of this year’s fair was on energy efficiency, as well as the integration of LED technology with advanced intelligent lighting control systems. The adoption of intelligent lighting systems in commercial lighting through features such as wireless motion controls and on/off dimming switches was a common theme. In residential lighting, parallel to prevailing trends in smart home technology and the use of personal mobile devices, some lighting exhibitors showcased centralised monitoring and control interfaces for lighting so that users could conveniently control lighting with their tablets and smartphones in any location. This points to intelligent lighting applications being a vital ecological and economic factor in the lighting and LED industries’ development.

Transformer Signcomplex Transformer is a modular designed LED floodlight. Its feature of free combination offers more options in appearance and power. The modules can be changed easily so that the maintenance costs can be reduced. Transformer represents the future of energy-saving illumination for worldwide industrial application. It is over 50% more energy-efficient than traditional light. www.signcomplex.com

CONSTAN RECO

CONSTAN is a high efficiency waterproof downlight with excellent glare control, different types of lamp source such as COB, CDM-T, CDM-TC, CDM-R111, QR111, PAR38, PAR30, TC-DEL are available for choice. The housing is made by die-casting aluminium and with 304# stainless steel frame.

IP66 rating ensure it can properly used for outdoor places, which is widely use in platform stations, corridor, public areas, hotel, swimming room, shopping malls. www.recolighting.com

J-Link Smart Lighting StrongLED This elegant, solid state smart lighting control solution features customizable high sensitive capacitive touch screen panels, as well as affordable, scalable, easy system integration and installation. Featuring a variety of touch panels, occupancy sensors and voice sensors, the product is also compatable with smart phones and other apps. This is a perfect solution for a wide range of applications, including retail stores, offices, hotels and homes featuring an array of controls for dimming, colour control, temperature and mood lighting. This is an environmentally friendly product. www.strongLED.com

ZAC T8 Everlight The ZAC T8 is one of the notable members of Everlight’s Energy Star and Design Lights Consortium (DLC) listed products. This tube light provides an LED solution for a wide range of retrofit lighting demands, including offices, medical facilities, schools and factories, as well as many other public settings. www.everlight.com

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JET 9 AD Lighting Featuring an intelligent control technology, this waterproof product can be integrated into building façades to create dynamic lighting solutions. With cross-border industrial design technology and a cylindrical shape, the product features a 360 °by 45 ° angle of evenly distributed light. The product features a brand-driven, imported CREE XB-D Series R, G, B, W four-color light source with a total power 36W and luminaire efficiency of over 85%. www.ad-lighting.com

G1010S Roled This is a small inground lluminaire with a diameter surface cover of 33mm. The product also features an ingress protection of IP68. With an in-built in control chip this luminaire can be controlled individually and easily and is ideal for use in plazas, residential areas, clubhouse and office and office buildings. www.roled.com.cn

Js-4i Wuxi This downlight offers a clear line of light effect with a unique glass lens design and new LED technology . It is suitable for use in museums, gallaries, clubs, shops and retail environments.

After considering the requirement needed for interior lighting, Wuxi has decided to pay more attention to luminous efficacy, colour temperatures and beam angles, in order to ensure the best effect. www.glass-lens.com

Xinglang LED Ty Lighting The simple atmospheric light wave patterns created by this product creates a strong affinity with the room it sits in.

The ivory white colour is easy to integrate into various interior decoration styles such as in hotels, shopping malls, homes and exhibition halls.

Each module uses standard interface G5.3 luminous source. This is an environment-friendly product that is convenient to maintain. It can be rotated in vertical direction 15°, horizontal direction 350° and the beam can be angled according to lighting requirements. en.ty-lighting.com

LUXEON CoB CrispWhite Philips Lumileds This LED was developed specifically for retail applications including downlights and spotlights where the truest color representation is desired by store owners and retail customers. CrispWhite is offered throughout the LUXEON chip-onboard (CoB) line of arrays. These arrays feature the highest combination of efficacy and lumen density in the industry, with a lumen range of 1,000-10,000 lm and typical efficacy of 100 lm/W. www.philipslumileds.com

Linear Fixture SAT With built-in driver and high CRI LEDs, this is an ideal linear product for interior ambient lighting. Aluminum made body is covered by high transparency PC material. With different arrays and CCT of LEDs, single color and color interchangeable features are available.

Various length demands can be achieved with flexible combination of 30cm, 60cm, 90cm and 120 cm specifications. www.sat-lighting.com

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TECHNOLOGY / NEW PRODUCT

SPICK AND SPAN

Pood VOWOV

A selection of new products hitting the market.

Kurve Kosnic

LATERALO PLUS Trilux Designed by Hartmut S. Engel, the Lateralo Plus features a binary lightguide system that transforms transparent glass into a non-glare, radiant light surface with superior light quality. This minimalist luminaire delivers a good amount of light (luminous efficacy of 104 lm/W), distributed via a wide, indirect luminous flux. The result is comfortable, yet focused illumination.

The minimalist design benefits from the lack of visual intrusion caused by a supply cable making the luminaire appear to be suspended in thin air. www.trilux.com

Director DR8 MK2 RCL Director DR8 MK2 incorporates all of the features and benefits of the original DR8 spotlight while boasting increased glare control, a slimmer, more compact design and greater mechanical reliability. The new model is compatible with multiple sources including RCL’s next generation LED head and can be adjusted wirelessly in pan, tilt and dim level using a simple handheld controller. As well as continuing to offer a tool-less accessory change, the design also retains the MK1’s narrow 200mm turning circle, making this product ideal for trough installations. www.rclighting.com

Kurve has been designed to meet the exacting standards of commercial and retail fit outs and its lay-in, recessed design makes this an easy to install, 600mm x 600mm, retrofit solution.

Available in 4000K and 6500K and in three under-face options, this cost-effective LED luminaire also delivers 50W energy efficient lighting with a high lumen output (up to 58 lm/W). An alternative to fluorescent equivalents, Kosnic’s Kurve LED modular luminaire range is quick and easy to retrofit, in both new and retrofit installations, within 600mm x 600mm T-bar ceiling systems. It is also compatible with Kosnic plug-in emergency modules. www.kosnic.com

An elegant and accurate system that focuses light to a desired point. The Pood 25 and Pood 55 are made of aluminum extrusion and are finished in black, silver, white, grey and chrome.

The upper body 55 Pood is made in different lengths. All models operate on a Powers Led system and offer colour temperatures of 3000K or 4000°K. A line of innovative lighting, designed by Manel Ybargüengoitia, this product provides a good performance in all kinds of installations. www.vowov.es

Centaurus Norka This high-performance LED floodlight generates a luminous flux of up to 45,000 lumen. This makes the floodlight ideal for standardised and efficient illumination of extremely high industrial workshops and manufacturing areas in dockyards, trade fair halls, sports facilities and aircraft hangars.

The product is suited for mounting on industrial cranes and conveyor bridges and for harsh ambient conditions, such as dust and water jets, thanks to a protection rating of IP65. Centaurus is available with LED arrays in colour temperatures of 3000K, 4000K and 5000K, as well as a High CRI (3000 K) version with an excellent colour rendering index of Ra > 90. www.norkalighting.com.au

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Recolight members have recycled over 30,000 tonnes of lamps and luminaires since 2007, more than all other UK schemes combined.

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Accredited by the Environment Agency for B2B and B2C. UK wide network of over 3200 collection points giving our members and their customers access to FREE recycling.

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We have a dedicated customer service team managing over 700 waste lamp and luminaire collections per month.

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Sales Director £Competitive salary + exec benefits (bonus + pension + car + private health) Full time, based in the UK (Harlow), frequent global travel.

Astro Lighting is a great British success story built on dynamism, flair and a passion for contemporary design. Stoked by an energetic, entrepreneurial culture, the business has grown by more than 20% yearon-year since it was founded in 1997. Exports through distributors in 34 countries account for at least half its turnover, and last year Astro won the Queen’s Award for Enterprise in International Trade.

But this is a company poised for even greater things, and this exciting and key leadership position is central to Astro’s strategic vision of considerable and sustained sales growth in global markets.

This role will suit a results-driven sales leader who relishes the opportunity to make a real difference, and who possesses the skills and personality to make it happen.

Key Responsibilities: • Define and implement a global sales strategy in line with Astro’s plan.

• Restructure the sales team and recruit great new talent.

• Manage and enhance the existing distributor network.

• Create new opportunities for contract and project sales worldwide, particularly within the hotel and hospitality sectors.

• Identify new customers, channels and markets.

• Help identify new products/product areas, and develop pricing policy and competitor analysis.

Requirements: Candidates must demonstrate proven, verifiable experience of: • Rapid, global sales growth within a fast-moving, dynamic organisation.

• Growing and managing a globally dispersed sales team.

• Growing and managing a global distributor network.

• Bringing on new customers, territories and markets.

Note: The right candidate must live within commutable distance of Harlow, or be willing to relocate. Relocation expenses will be paid.

For more details, please send your CV to David Scarlett at Pinnacle Recruitment & Selection (E: david@pinnacle-recruit.com, T: 01376 347500)

ADVERTISERS INDEX ALEEX............................................... 137

Illumination Physics............................ 33

Philips................................................. 25

Anolis................................................ 121

Insta.................................................... 65

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Astro Lighting................................... 150

Kim Lighting......................................... 2

Precision............................................. 89

KKDC.................................................. 23

Pulsar.................................................. 14

LEC-Lyon............................................ 85

Recolight.......................................... 149

LED Linear........................................ 156

Rising Dragon Technology................... 8

Lee Filters .......................................... 55

Roxo Lighting..................................... 12

Beta Calco........................................ 135

Ligman.............................................. 143

SAT................................................... 117

Cathode Lighting Systems............... 133

Lucent................................................. 57

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Lucifer................................................. 45

Signcomplex......................................... 9

darc night........................................... 73

LUG.................................................... 91

SILL..................................................... 71

David Morgan Associates................. 141

Lumenpulse........................................ 69

StrongLed........................................... 11

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Traxon & e:cue.................................... 77

Neo-Neon........................................ 103

Trilux.................................................. 6-7

Neonlite............................................ 123

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Nexia................................................ 103

WAC Lighting................................... 155

Guangzhou Int’l Lighting Exhibition. 138

Nicolaudie.......................................... 15

Wila.................................................... 49

Guzhen Lighting Expo ....................... 95

Norka.................................................. 47

Wuxi Jinshun Lighting........................ 63

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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.

“Right Light, Right Place, Right Time” TM

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.

Three Regional Business Managers Reporting to: UK Managing Director Regions: Scotland – Midlands – London / Home Counties Description: Mature business management position for BEGA The positions call 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 positions 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 + Performance Related Bonus + Benefits Key Qualifications: • LIF trained • Detailed knowledge of outdoor & indoor product ranges • Personal reputation and history for excellence in the market • Excellent existing contacts with the professional market including project consultants, architects, lighting consultants, M & E, interior designers and landscape designers • Unique regional knowledge • At least 10 years lighting experience 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

dpa has created an international lighting consultancy Practice, which puts “design excellence” as its main focus. We are working on a wide range of exciting projects throughout the world. Our work includes lighting for all aspects of the built environment.

With offices in Dubai, London, Japan and Oxfordshire we currently have the following vacancies for suitably talented lighting design professionals:

Dubai Studio, U.A.E

Oxfordshire Studio, UK

• Associate • Senior Designer

• Associate • Senior Designer London

London Studio, UK • Designer These are important roles within the Practice and encompass all aspects of a Lighting Design Studio. Remuneration for all vacancies will be commensurate with experience.

The Dubai position enjoys a tax free environment subject to personal taxation circumstances.

Applicants applying for these positions must have previous relevant experience with an independent lighting consultancy. Excellent written and spoken English is also essential. Applicants need to demonstrate outstanding creative, technical and project management skills appropriate to the positions.

Initial interviews can take place in UK or U.A.E. For further details about dpa, please refer to our website: www.dpalighting.com Please e-mail your application letter and CV along with examples of completed projects where you have had a significant contribution to Bryony Garrett: bg@dpalighting.com

The BEGA Group is an internationally respected, privately owned manufacturer of high quality outdoor and indoor luminaires. Its enviable product portfolio suits for lighting projects worldwide.

UK Administration Manager Office: Currently based in Dorking, Surrey Reporting to: UK Managing Director Description: Mature business management position for BEGA This position calls for a motivated, driven, sensitive and diplomatic business minded individual who thinks outside the box. 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. The position will call for the ability to make reasoned business decisions and to act upon them.

Income and benefits package to include: • Basic + Performance Related Bonus + Benefits Key Qualifications: • Senior Business administration experience and, or a business related degree • Excellent telephone and computer skills to include: Word, Power-Point, Excel, book-keeping systems • Understanding of specification and planning processes – further training to be provided • At least 10 years Business experience For a more detailed job description please 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

sponsored by

EVENT CALENDAR

Interlight Moscow November 11-14 Moscow, Russia www.interlight.messefrankfurt.ru

LuxLive November 19-20 London, UK www.luxlive.co.uk

Media Architecture Biennale November 19-22 Aarhus, Denmark www.mab14.mediaarchitecture.org

Middle East Smart Lighting Summit November 24-25 Abu Dhabi, UAE www.lightingsummit.com

Strategies In Light Europe October 21-23 Munich, Germany www.sileurope.com

Guzhen International Lighting Fair October 22–26 Guangdong, China en.gzlightingfair.com

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

Light Middle East November 3-5 Dubai, UAE www.lightme.net

Illuminotronica October 9-11 Padova, Italy www.illuminotronica.it

Index October 9-12 Mumbai, India www.ubmindexfairs.com/

ForumLED October 14-15 Paris, France www.forumled.com

ALEEX October 14-17 Guangzhou, China www.aleex.cn

The LED Show September 16-18 Los Angeles, USA www.theledshow.com

100% Design September 17-20 London, UK www.100percentdesign.co.uk

Light India September 18-21 New Delhi, India www.light-india.in

LED & Lighting September 25-28 Istanbul, Turkey www.ledfuari.com

IALD Enlighten Europe November 9-11 Berlin, Germany www.iald.org

Interieur October 17-26 Kortrijk, Belgium www.interieur.be

darc night launch October London, UK www.mondoarc.com

Shanghai International Lighting Fair September 3-5 Shanghai, China www.​building.​messefrankfurt.​com.​cn

EILD November 5-7 Medellin, Colombia www.eild.org

IALD Enlighten Americas October 16-18 San Diego, USA www.iald.org

LpS September 30 - October 2 Bregenz, Austria www.led-professional-symposium.com

Artificial Light at Night (ALAN) September 2-4 Leicester, UK www.dmu.ac.uk

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INSPIRATIONS / #26 MICHAEL GRUBB STUDIO

CURATED BY

This issue of the Back Page is brought to you by the team at the Michael Grubb Studio. Based in Bournemouth, UK by the sea, this relatively new consultancy is headed up by a former Lighting Designer of the Year no less. We love Mike and his team for their continual support of Light Collective crazy ideas and it’s good to get a chance to promote theirs. They are the first office we have ever heard of pitching (get it?) illuminated crazy golf to a client. They have created a light festival on the beach and an initiative to re-use all the samples we allow to gather dust... We really like their style.

This is their opportunity to present what inspires them and guess what? It’s us...not literally just us (although we are chuffed to see ourselves included) but as in ‘all of us’. It’s the people that they have worked beside, collaborated with or admire from afar. If you are surprised to see your little face then accept the honour and join us in a bit of a love in based on light. www.lightcollective.net www.michaelgrubbstudio.com