102 FEB/MAR 2018

www.arc-magazine.com

LIGHT
READING
MVRDV’s stunning Tianjin Binhai Library
reaches new heights

RESIDENTIAL LIGHTING • FESTIVALS OF LIGHT FORMERLY

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 Prensa-Rev_ARC_Sagitario-V9_AAFF_marcas.pdf 1 12/02/2018 15:35:10

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 094
Tapio Rosenius
Sarah Cullen joins renowned Finnish
designer, innovator, artist and
entrepreneur Tapio Rosenius on his
quest to question the major topics
within the lighting industry.

Pic: Mark Cocksedge

Contents 092 Libraries

We take a closer look at some of the stunning library projects currently
being completed around the world.

FEB/MAR 2018 124 JAC Studios

030 Editorial Comment
032 Headlines
034 Eye Opener
036 Drawing Board
042 Spotlight
056 Snapshot
058 Briefing
060 Dark Source Stories
062 IALD Column
212 Case Studies
250 New Products
254 Event Diary
Following their impressive work on the darc awards / architectural
shortlisted Wadden Sea Centre, we spoke with JAC Studios to discuss its
design philosophy, and the role that lighting plays in its work.
146 Residential Lighting
Ian Clarke, Associate at dpa lighting consultants examines the special
thought process that comes with designing lighting for a residential
property.
168 Festivals of Light
A closer look at some of the great lighting festivals that have lit up the
winter months, from Lumiere to Amsterdam Light Festival.
233 Light+Building Preview
A sneak peek at some of the products that will be on display at the
upcoming Light+Building 2018 in Frankfurt.

258 Bucket List

252 Product Review
David Morgan casts his eye over the Lif system from Selux: a
comprehensive urban lighting system based on a minimal pole design.

026 www.arc-magazine.com
South Korea_ManCheonha Skywalk

Romania_Bucharest State Circus

WHERE
colour
MEETS

archi
tecture
www.griven.com

Visit us at

18-23 March 2018

Vietnam_Le Hong Phong Bridge

Frankfurt am Main (D)

Hall 5.0 Stand B45

GRIVEN S.r.l. I Castel Goffredo (MN) Italy I Tel. +39.0376.779483 I sales@griven.com

 064
Tianjin Binhai Library, China
Created by Dutch architects
MVRDV along with the Tianjin
Urban Planning and Design
Institute, the Tianjin Binhai Library
has attracted worldwide attention
for its stunning design.

Pic: © Ossip van Duivenbode

Projects 078 The Word, UK

In the face of austerity, Desco teamed up with FaulknerBrowns
Architects to create The Word, a stunning new library and social hub for

FEB/MAR 2018 the community of South Shields.

106 Inmaculada Concepción Church, Spain

The Inmaculada Concepción Church has undergone an architectural
and lighting renovation, improving the historic structure and bringing a
spiritual, harmonious atmosphere for worshippers.

114 Canadian Museum of History, Canada

The Canadian Museum of History has a new lighting design scheme
thanks to Lightemotion, who wanted to create a visual narrative telling
the story of Canada while highlighting the building’s architecture.

136 First Direct Access, Heathrow Airport, UK

StudioFractal, alongside architects Pascall & Watson, provided the
lighting design for the First Direct Access, a sophisticated security portal
for first class passengers at Heathrow’s Terminal 5.

148 Residential Lighting case studies

A look at a selection of impressive residential lighting projects, including
work from the likes of Nulty, Light.iQ and Linea Light Group.

028 www.arc-magazine.com
 EDITORIAL

Read all about it!

Front cover: Tianjin Binhai
As a print and book lover, it
is very satisfying to be able
Photography: Ossip van Duivenbode

Editorial
Publisher / Editor

to publish some spectacular

Paul James
p.james@mondiale.co.uk

Assistant Editor
Matt Waring

library projects in this issue…

m.waring@mondiale.co.uk

Editorial Assistant
Sarah Cullen
s.cullen@mondiale.co.uk

Advertising
International Advertising Manager I grew up living next to a library so spending time there, whether
Jason Pennington
j.pennington@mondiale.co.uk revising for exams or just discovering books, became second nature

International Advertising Sales

to me. Of course, back then there was no such thing as Google and
Andy White even home computers were only just becoming available to all (OK,
andy.w@mondiale.co.uk
I’m showing my age now) so visits to the library were commonplace
Steven Willcox
s.willcox@mondiale.co.uk for conscientious students like me!
A few years ago, well after I had left my home town for a career as
Subscriptions
a journalist, I was sad to discover that the library had closed down
Moses Naeem
m.naeem@mondiale.co.uk (although it recently got rehoused at the town bingo hall!). Without
that library and the love it gave me for reading and writing I may
Production
well have gone on a different career path but here I am writing
David Bell
d.bell@mondiale.co.uk as an editor about some new libraries that have caught our eye as
Mel Robinson architecturally stunning buildings with lighting playing a crucial part
m.robinson@mondiale.co.uk
in their success. Of course, the libraries of today need to diversify
Zoe Willcox to survive (and indeed thrive) and it is the re-imagining of libraries
z.willcox@mondiale.co.uk
as cultural hubs that has led to projects like Tianjin Binhai and The
Chairman Word becoming realised.
Damian Walsh
d.walsh@mondiale.co.uk
And it’s ambitious projects like these that allow light to come to the
fore. The lighting for both these projects, although not a huge part of
Finance Director their budgets, were crucial to their success as architectural icons in
Amanda Giles
a.giles@mondiale.co.uk their own right. In Tianjin, China the flexible cove lighting radiates
throughout the building’s curvaceous cavern around the glowing
Credit Control
auditorium eye. The Word in South Shields, UK flies in the face of
Lynette Levi
l.levi@mondiale.co.uk the government’s austerity programme to create a phenomenally
arc media successful cultural hub with a spectacular lighting centrepiece
Strawberry Studios, Watson Square engineered in a cost effective way. It has been a pleasure to feature
Stockport SK1 3AZ, United Kingdom
T: +44 (0)161 476 8350 these projects and I hope you enjoy them too.
www.arc-magazine.com
arc@mondiale.co.uk

Printed by Buxton Press * For those of you who are attending Light+Building be sure to pay
us a visit at our stand at 4.1 FOY12. We’ll be distributing thousands of
Annual Subscription rates:
United Kingdom £30.00 copies of this issue as well as our decorative lighting magazine darc
Europe £50.00
ROW £65.00 and the International Lighting Design Survey. See you there!
To subscribe visit www.arc-magazine.com
or call +44 (0)161 476 5580

arc, ISSN
17535875, is published
bi-monthly by Mondiale Publishing,
Strawberry Studios, Watson Square,
Stockport, Cheshire, SK1 3AZ.

Subscription records are maintained

at Strawberry Studios, Watson Square,
Stockport, Cheshire, SK1 3AZ. Paul James
Spatial Ltd is acting as our mailing agent. Editor

030 www.arc-magazine.com
 PROJECTS

NEWS

Headlines
Messe Frankfurt acquires
Thailand Lighting Fair
(Thailand) – The team behind Light +
Building has expanded its international
portfolio with the acquisition of
Thailand Lighting Fair.

Neri Oxman to be Lightfair

International keynote
(USA) – Neri Oxman of Sony
Corporation and MIT Media Lab will
share her perspective in a fascinating
keynote presentation at Lightfair
International 2018.

Klaasen Lighting Design

Pic Christian Fattinnanzi
A beautiful sun sets behind the
iGuzzini HQ Building in Recanati, Italy.
partners with Gooee
(Asia) – Klaasen Lighting Design has
entered into a partnership agreement
with Gooee, recognising the need for
smart, connecting lighting systems.

Philips Lighting recognised

iGuzzini acquires Sistemalux by CDP

(Europe) – Philips Lighting’s work
in managing carbon emissions and
addressing climate-related issues
(Canada) – Following more than 20 years of working together, iGuzzini has acquired Canadian
across its supply chain earned
lighting distributor Sistemalux.
recognition from CDP.
Read more on www.arc-magazine.com
Cooledge launches Boston
Office
(USA) – The opening of new
commercial offices in Boston sees
Cooledge increase its presence
on the American east coast, in
Waltham, Massachusetts, putting the
company closer to the world’s largest
concentration of architectural and
design firms and related decision
makers.

Nulty expands Middle East

team
(Dubai) – Architectural lighting design
consultancy Nulty has expanded
its team in the Middle East with the
appointment of Amy Rossetti as
Associate.

LG Innotek unveils new Flip

Pic Adam Mørk
Harbin Opera House interior, Lighting Design by
Beijing United Artists Lighting Design.
Chip LED package
(South Korea) – The newly developed
“Advanced Flip Chip LED Package” is
expected to implement stable 220

IALD and LIRC release updated guidelines for

lumens per watt efficacy.

specification integrity SGM hire Frank Hoehn as

Global Sales Manager
(Denmark) – Frank Hoehn joins SGM
as VP of Global Sales, having previously
(USA) – The Guidelines For Specification Integrity offer tips and references to ensure that what is worked as Director of Business
designed is what is built. Development and EMEA Hospitality for
Read more on www.arc-magazine.com Martin / Harman International.

032 www.arc-magazine.com
 2017
Innovation Award
ARCHITECTURE + PRESENTATION

WINNER

18. – 23 . 3 . 2018
Frankfurt am Main
HALL 4.2 Stand E10

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034 www.arc-magazine.com

Moving Creates Vortices and Vortices Create
Movement
Melbourne, Australia
As the National Gallery of Victoria (NGV) in Melbourne, Australia
hosts the NGV Triennial of contemporary art and design, art
collective teamLab is premiering its interactive digital artwork,
commissioned by the NGV. To be included in the permanent
collection at the NGV, Moving Creates Vortices and Vortices Create
Movement is an immersive and responsive digital installation
that comes to life and transforms under the influence of visitors’
movement.
The Moving Creates Vortices and Vortices Create Movement artwork
transforms according to the presence of people. As visitors move
through the installation, swirling vortices of light are projected
onto the floor. The faster they move, the stronger the flow of light,
until they stop and the room falls into darkness.
teamLab created the installation to show to visitors how, through
their own movement, seemingly unrelated things can affect the
world in an uncontrollable way, beyond their intentions.
Toshiyuki Inoko, one of the founders at teamLab, said: “Where I
was born, huge tidal whirlpools called the Naruto Whirlpools are
always occurring in the ocean. I was interested in the relationship
between a whirlpool, seafood and people’s lives, which became
our motivation to create Moving Creates Vortices and Vortices Create
Movement.
“Naruto Whirlpools are visible, but there are many other massive
vortices being generated in many other oceans. This phenomenon
EYEOPENER
contributes to enriching the ocean, carrying nutrients that flow
from rivers inland offshore, creating highly nutritious seawater.
“In the ocean, it’s the small islands and complicated terrains that
enrich the water by generating vortices. I find that very interesting.
Perhaps humans are the same. We make complex motions, and
as a result it generates an energy like a vortex. And I think it’s that
energy that makes people move further.”
teamLab’s immersive artwork is intended to allow visitors to see
how the world changes through their actions and their existence,
allowing them to feel as if there are no boundaries, and that
everything exists in a continuity.
The NGV Triennial, a large-scale, gallery wide exhibition of
international art, design and architecture featuring the work of
more than 100 artists and designers from 32 countries, began
on December 15, 2017 at NGV International and runs till April 15,
2018 in Melbourne, Australia.
teamLab has been the subject of numerous exhibitions at venues
worldwide, and the collective has works in the permanent
collection of the Art Gallery of New South Wales, Sydney;
Art Gallery of South Australia, Adelaide; Asian Art Museum,
San Francisco; Asia Society Museum, New York; Borusan
Contemporary Art Collection, Istanbul; and National Gallery of
Victoria, Melbourne.
www.teamlab.art
Pic: teamLab courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
www.arc-magazine.com 035
 DRAWING BOARD
Serpentine Pavilion 2018
UK
The Mexican architect Frida Escobedo,
celebrated for dynamic projects that reactivate
urban space, has been commissioned
to design the Serpentine Pavilion 2018.
Harnessing a subtle interplay of light, water
and geometry, her atmospheric courtyard-
based design draws on both the domestic
architecture of Mexico and British materials
and history, specifically the Prime Meridian line
at London’s Royal Observatory in Greenwich.
Escobedo is the eighteenth and youngest
architect yet to accept the invitation to design
a temporary Pavilion on the Serpentine Gallery
lawn in Kensington Gardens. This pioneering
commission, which began in 2000 with Zaha
Hadid, has presented the first UK structures
of some of the biggest names in international
architecture.
Escobedo’s Pavilion will take the form of
an enclosed courtyard, comprised of two
rectangular volumes positioned at an angle.
While the outer walls will be aligned with the
Serpentine Gallery’s eastern façade, the axis
of the internal courtyard will align directly to
the north. Internal courtyards are a common
feature of Mexican domestic architecture,
while the Pavilion’s pivoted axis refers to the
Prime Meridian, which was established in 1851
at Greenwich and became the global standard
036 www.arc-magazine.com
Pic: Frida Escobedo, Taller de Arquitectura, Renderings by Atmósfera
marker of time and geographical distance.
British-made materials will be used in the
Pavilion’s construction, chosen for their dark
colours and textured surfaces. A celosia – a
traditional breeze wall common to Mexican
architecture – will be composed of a lattice of
cement roof tiles that diffuse the view out into
the park, transforming it into a vibrant blur of
greens and blues. Two reflecting elements will
emphasise the movement of light and shadow
inside the Pavilion over the course of the day.
The curved underside of the canopy will be
clad with mirrored panels, and a triangular
pool cast into the Pavilion floor will trace its
boundary directly beneath the edge of the
roof, along the north axis of the Meridian. As
the sun moves across the sky, reflected and
refracted by these features, visitors may feel
a heightened awareness of time spent in play,
improvisation and contemplation over the
summer months.
Escobedo’s design enhances the Serpentine
Pavilion’s reputation as a space of encounter
and shared experience, following Francis Kéré’s
acclaimed 2017 Pavilion, a bright and airy
structure that was inspired by the tree at the
heart of his hometown in Burkina Faso and
visited by more than 200,000 people.
Speaking of her designs for the eighteenth
Serpentine Pavilion, Frida Escobedo said: “My
design for the Serpentine Pavilion 2018 is a
meeting of material and historical inspirations
inseparable from the city of London itself and
an idea which has been central to our practice
from the beginning: the expression of time in
architecture through inventive use of everyday
materials and simple forms. For the Serpentine
Pavilion, we have added the materials of light
and shadow, reflection and refraction, turning
the building into a timepiece that charts the
passage of the day.”
Serpentine Galleries Artistic Director, Hans
Ulrich Obrist and CEO, Yana Peel, added:
“We are delighted to reveal the designs for
Frida Escobedo’s Serpentine Pavilion, which
promises to be a place both of deep reflection
and dynamic encounter. With this bold interior,
Frida draws history into the present and
redefines the meaning of public space. We
hope visitors of all ages will create their own
experiences in the Pavilion this summer as we
continue in our aim of bringing the urgency of
art and architecture to the widest audiences.”
www.serpentinegalleries.org
The Serpentine Pavilion 2018 will be open every
day from 15 June to 7 October from 10am to
6pm, excluding 18/19 June when it will close, re-
opening at 1pm on 20 June.
©2018 Soraa, Inc.

Frankfurt am Main
18 — 23.03.2018

Experience Soraa Arc: Hall 4.1, Stand H50 www.soraa.com

 DRAWING BOARD
Fotografiska London
UK
Fotografiska London, London’s largest permanent dedicated
photography gallery set across 89,000sqft of space in
London’s Whitechapel, will open to the public in November
2018.
Designed by Swedish architects Guise, the gallery will show
up to seven exhibitions at any one time, all of which are
accessible with one entry ticket, Fotografiska London follows
the successful model of its current site in Stockholm, which
since opening in 2010 has become one of the city’s top visitor
attractions.
The gallery will present major solo exhibitions of work by
the world’s greatest photographers – past exhibitions in
Stockholm include David LaChapelle, Annie Leibovitz, Bill
Brandt, Helmut Newton, Sally Mann, Irving Penn and Andres
Serrano – alongside work by new talent, commissioned
series documenting current affairs, exhibitions drawn from
Fotografiska’s growing collection and a wide range of themed
group shows. As each show runs into the next, the result is
a journey through a unique mix of programming, presenting
different and varied insights into the ever-evolving world of
photography with each visit.
The space will include two top-level restaurants, offering
sustainable cuisine, a café open seven days a week and a bar.
The Store at Fotografiska London will stock everything from
limited-edition coffee-table books to the latest photographic
gadgets, while Fotografiska’s new retail concept, F Edition,
enables a modern generation of art collectors access to
limited editions from the world’s finest photographers.
Fotografiska London will incorporate an Academy staffed by
professional photographers and educators, running a series
of classes through the week for amateur photographers
focused on theory-based and practical training across
subjects including creativity, human perception and design. A
large-scale conference venue at the site will offer 360-degree
projection in each venue, an on-site cinema and private
dining, envisioned to become the go-to for the world’s top
038 www.arc-magazine.com
companies for product launches, conferences and charity
events.
Furthermore, Fotografiska London will see an expansion of
the Fotografiska for Life initiative, which seeks to present new
perspectives on important world events and people living on
the margins of society. Run in collaboration with charities and
media partners, these exhibitions are programmed to raise
the profile of issues in the world, and materially help their
subjects.
A recent exhibition in Sweden, Refugee Phones, looked at
the isolation of child refugees in Europe. Visitors were
encouraged to donate their old mobile phones on entry,
all of which were donated to child refugees so they could
call home. The exhibition has since travelled to the United
Nations, NYC Public Library and US Senate, raising money for
UNHCR’s work with refugees globally.
Tommy Rönngren, lead investor and Chairman of
Fotografiska London, said: “Fotografiska London seeks to
fully integrate itself into the social, cultural and culinary fabric
of this great city. We will achieve this goal by becoming the
best exhibitor of international photography and creating
a world-class space for social interaction. Since opening in
Stockholm in 2010, millions of visitors have passed through
Fotografiska’s doors, standing testament to photography’s
vast and growing popularity. We thoroughly look forward to
welcoming Londoners and visitors from further afield when
we launch in 2018.”
Jan Broman, CEO of Fotografiska International, added:
“Photography is an art form that can evoke emotion, inspire
ideas and serve as a vehicle for self-expression. In Stockholm
we believe we have created the finest space to view and
exhibit photography worldwide, as well as a unique venue for
people to meet, and it is this combination that we think will
prove innovatory for London when Fotografiska opens next
year.”
www.fotografiska.eu
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171121_en_cluster_work_mondoarc.indd 1 21.11.17 17:25

 DRAWING BOARD
HS2 Stations
UK
Grimshaw Architects and Arup, alongside Wilkinson
Eyre and WSP, have been selected to transform
London Euston and design new, landmark stations
in Birmingham city centre, Solihull and London’s
Old Oak Common for HS2, the new high-speed rail
network.
With plans to open in 2026, this is the largest new
station building programme in the UK since the
Victorian age.
Grimshaw will work with WSP’s UK office to create
a station for HS2 services at Birmingham Curzon
Street, while Arup and Wilkinson Eyre will design the
Birmingham Interchange station.
Meanwhile Grimshaw and Arup have also teamed
up to design an interchange at London Euston, with
initial plans for a new entrance and eleven additional
platforms submitted in 2015.
In the north west of London, Wilkinson Eyre and WSP
will create a station at Old Oak Common.
Sadie Morgan, co-founder of architecture practice
drMM and chair of the HS2 Design Panel welcomed
the appointment of these designers, and believes
that they will “help deliver iconic stations which set
new standards in design and ease of use, providing
a legacy of great architecture of which Britain can be
truly proud”.
The stations will form part of the first phase of the
HS2, which will connect central London with the West
Midlands. The first services are expected to be in
operation by 2026, before a second phase will extend
this network further into the north, connecting
040 www.arc-magazine.com
Pic: © HS2 Ltd/Grimshaw Architects
Birmingham with Liverpool, Newcastle, Glasgow and
Edinburgh.
HS2 chief executive Mark Thurston added: “Our new
stations in London and Birmingham will be at the
heart of the first phase of the project, increasing
capacity, improving journeys and helping to unlock
opportunities for tens of thousands of new jobs
and homes around what will be four new landmark
buildings.
“That’s why I’m delighted to welcome these designers
to the team. We look forward to working with them
to create station designs that showcase world-class
architecture, ease of use and value for money that
our communities expect and deserve.”
“HS2 is a modern railway fit for Britain’s future,
improving vital links between some of our country’s
biggest cities, driving forward growth and significantly
improving services for passengers with thousands
more seats on faster trains,” continued Nusrat Ghani,
HS2 Minister.
“Appointing these leading creative firms ensures that
passengers on our world-class railway will experience
modern and accessible stations. I am confident that
these firms will deliver these projects with designs
that are both innovative and in keeping with their
surroundings.”
www.grimshaw.global
www.arup.com
www.wilkinsoneyre.com
www.wsp.com
 Icoon Afsluitdijk
Netherlands
Dutch designer and innovator Daan Roosegaarde, in
collaboration with Rijskwaterstaat, has paid tribute to
the legendary 32-kilometre Afsluitdijk causeway in the
Netherlands, that separates the Zuiderzee from the
North Sea with a series of special light installations.
Gates of Light, Windvogel and Glowing Nature are
part of Roosegaarde’s Icoon Afsluitdijk, a free-to-view
installation that contributes towards strengthening the
iconic value of the dike.
Michèle Blom, Director General of Rijkswaterstaat, said:
“The Afsluitdijk is a national symbol of our past and
future relationship with water. The designs of Daan
Roosegaarde emphasise the culturally historic value
of the Afsluitdijk as an international business card for
Dutch hydraulic engineering, innovation and Dutch
design.”
Through these three designs, Icoon Afsluitdijk exhibits
the power of nature as a source of energy and light,
and exemplifies a futuristic green landscape.
The first, Gates of Light, is a new, futuristic entrance to
the dike, bringing the monumental floodgates of 1932
back to their former glory. The structures, originally
designed by Dirk Roosenburg, grandfather of Dutch
042 www.arc-magazine.com
architect Rem Koolhaas, have been fully restored, while
small prisms have been installed on their surface.
These prisms reflect the light of passing car headlights,
illuminating the distinctive contours of the impressive
structures. If there are no cars on the road, there is no
light on the structures; this way of using light requires
no energy and causes no light pollution. The luminous
lining on the complex creates a dynamic entrance, as
if the motorist is driving through a science fiction film,
and is a concrete example of a futuristic and energy
neutral landscape, in line with the governmental policy
to have all national roads in the Netherlands energy
neutral by 2030.
For the Windvogel installation, Roosegaarde created
smart kites with specially designed light lines that
had the potential to generate up to 100kw of energy
– enough for 200 households. These smart kites are
tethered by a line to a ground station, and while aloft,
they search for the optimal wind, generating power
just like a dynamo on a bicycle.
Roosegaarde designed the kite lines with specially
developed glass fibres that are strong and light,
creating a poetic dance of light emitting lines.
 SPOTLIGHT

Windvogel has been tested on the dike as a concrete example of

green energy, and generates a unique image of vertical lines on
the horizontal landscape of the Afsluitdijk.
Roosegaarde’s final installation, Glowing Nature, expresses the
beauty of nature on the Afsluitdijk through a unique encounter
between man, biology and technology.
This interactive, mysterious exhibit features live bioluminescent
algae, one of the oldest microorganisms in the world. Only under
the perfect conditions, and with the right amount of maintenance
and care, do the single cell algae give off a prolonged natural light
when they are touched. The installation is intended to showcase
how we can generate energy and light solutions from nature in
the future.
Daan Roosegaarde said of Icoon Afsluitdijk: “The Afsluitdijk
represents a part of Dutch daring and innovation. It is the
Madonna of our waterworks. By adding a subtle layer of light and
interaction, we enhance the beauty of the dike and form new
links between man and landscape, darkness and light, poetry and
practice.”
Windvogel and Glowing Nature were open until 21 January 2018,
Gates of Light is a free permanent installation along the Afsluitdijk.
www.studioroosegaarde.net
www.icoonafsluitdijk.nl

www.arc-magazine.com 043
 SPOTLIGHT
Wärmespeicher
Germany
80 Anolis ArcSource 4MC LED fixtures were
specified to illuminate the indicator for a new
heat storage tank (Wärmespeicher) installed
in the Drispenstedt residential district of
Hildesheim in Lower Saxony, Germany.
The impressive 17.5-metre high, 4-metre
wide structure, which resembles a quirky
piece of contemporary sculpture, was
designed by pape+pape Architekten from
Kassel. It contains an internal cylindrical
water feature illuminated by the ArcSources,
which are programmed to indicate how much
of the energy generated from the nearby
natural gas-fired combined heat and power
plant (CHP) is currently stored and available
for use.
The lighting installation was commissioned
by energy company Energieversorgung
Hildesheim (EVI) and the lighting design was
imagined and delivered by locally based
architectural lighting specialist SSP Design,
with Matthias Schiminski and Henrik Nolte as
the project’s lead engineer and designer.
When there is a lot of energy stored up
and available for use to heat the nearby
homes, the 20,000-litre water feature glows
red. When there is less available, the colour
gradually morphs through to blue.
EVI and the city’s planning and development
department Gemeinnützige Baugesellschaft
Hildesheim (gbg) initiated the plan which also
involved the renovation of heating systems in
1600 homes over two and a half years, at a
cost of around €3million.
The new heat storage system ensures the
highest levels of flexibility and efficiency by
storing un-needed heat that is generated
during the power production process, which
is then available for later use when the
demand is higher.
Drispenstedt local council was also a partner
in the project, and one of their stipulations
044 www.arc-magazine.com
was that during the hours of darkness, the
illumination should not be any brighter
than the surrounding street and ambient
lighting levels, and therefore not intrusive or
distracting to residents.
As such, lighting was essential for the
achievement of this goal. Schiminski had
specified Anolis for a previous project
and found the products to be reliable
and robustly built. He knew the flexible
DMX controllability and super-smooth
homogenised colour mixing of the ArcSource
1MC enabled via the multichip LED engine
would be a perfect solution.
However, the main challenge for the
lighting installation was the timeframe. The
structure’s perforated exterior membrane
was fitted over the quirky, uneven steel
sub-frame only a few days after a team from
local specialist, Technik-Werft, completed the
construction of the tower.
Due to its resulting interesting shape
and multiple curved surfaces – evoking
horizontal layers of water – an amount of
experimentation was needed to optimise the
lighting. The goal was to have a dynamic mix
between light movement and even coverage;
so several different angles were required to
get the fixtures perfectly aligned.
The Anolis ArcPower drivers are connected
to a port on the power generator control
system, so they can receive the correct
capacity and thermal data as related to the
storage status, which is converted to DMX
and then change the colour of the fixtures.
The shifting energy storage levels are an
effect that people can watch in real time and
this has helped the installation become the
local talking point that was envisioned.
www.anolis.eu
Frankfurt am Main
18.–23.3.2018
Hall 4.2 Stand H71
and Agora C10

KURV-Y Section

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 SPOTLIGHT

The Golden Portals, Carlsberg City

Denmark
The Carlsberg City District in Copenhagen is booming and by the end of
2025 it is expected to house close to 10,000 residents. The skyscraper
Bohr’s Tower is the first building to be finished and ÅF Lighting was
asked to design a lighting solution for the so-called Golden Portals at the
south entrance of Carlsberg City.
The façades of the portals are covered with golden anodised aluminium
cladding consistent with the old Carlsberg brewery area’s existing golden
architectural elements. The cladding is decorated with unique diamond
shaped patterns, which causes optical illusions.
“We wanted to enhance the spectacular architecture and create a
lighting solution with the highest comfort possible. And as a tribute to
the area’s historic reputation the dynamic shimmering light effect is
composed to symbolise a cold sparkling Carlsberg beer,” explains ÅF
Lighting’s Lighting Designer Frederik Borello.
The space-frame that carries the lighting installation is customised to
make them appear more airy and suspended from the ceiling to ensure
that the façades can be fully enjoyed. They complement the patterns of
the façade and are dyed to match the golden colour of the portals.
The dynamic lighting, utilising 364 FOS 33 White 12 fixtures from DTS,
adds an organic and modern character, while the warm white 2700K
LEDs accentuate the golden colours, helping to make the portals appear
pleasant and inviting.
The lighting was designed in close collaboration with the architects
Vilhelm Lauritzen Arkitekter who designed the building.
www.afconsult.com

046 www.arc-magazine.com
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 SPOTLIGHT
Corridor of Lights
USA
World-renowned lighting consultant Howard M.
Brandston and artist Dan George have created an
important light installation in the City of Syracuse.
The permanent installation, part of the larger Connective
Corridor project, features SGM’s i-2 White IP66-rated
POI lights, and was initiated to illuminate iconic
buildings and public spaces between Columbus Circle
and Armory Square.
“The Jefferson Street project is really an investment
in turning a typical motor-oriented roadway into a
pedestrian-oriented city street. The installation reflects
off people, making it essentially invisible until occupied;
it takes people to show the light because the people
become the light,” explained Brandston.
The installation on Jefferson Street is the signature
illumination under the larger Connective Corridor
project, connecting Syracuse University to Downtown
Syracuse.
“The idea was to separate it from the standard street
lighting, so you could look down the road from
Columbus Circle to Armory Square and create a more
pleasant walkway,” continued Brandston, explaining
Armory Square as the cultural and entertainment-
oriented part of the city.
“We chose SGM’s i-2 because of its high intensity and
our ability to control the beam. This installation focuses
on the people, and with the right colour rendering,
people actually look like humans, not orange distortion.
By highlighting people’s emotions, we are creating a
048 www.arc-magazine.com
much nicer environment. In my opinion, this is how
you should light a street; focusing on the people,”
Brandston added.
“There are many good examples of this around the city.
Like Bryant Park in New York City, which used to be an
unsafe place, until we illuminated it. We are hoping the
same thing will happen here in Syracuse.”
Focusing on improving the environment year-round,
the designers decided to make the unstable weather
conditions an essential part of the installation.
“The volume in the weather is a really strong physical
element to the installation, because there is always
something to be illuminated. Sometimes it rains,
sometimes it snows. Now, when it’s raining, it will look
like it’s raining diamonds, because we have installed
several SGM i-2 lights to illuminate all the raindrops,
snowflakes, or sleet,” explained Brandston about the
installation, which was completed in November of 2017.
The Corridor of Light project in Syracuse University’s
Connective Corridor is major part of an extensive
transformation that this economic and educational
hub of central New York has been achieving over the
last few years. The project focuses on aesthetically
improving the city using top-of-the-line energy reducing
LED luminaires, easily upgradable to keep up with new
technologies for optimal savings.
www.concerninglight.com
www.dangeorge.nyc
 SPOTLIGHT
Guayaquil Moorish Clock Tower
Ecuador
Guayaquil, Ecuador’s Moorish Clock Tower
is a timeless beauty, attracting thousands of
visitors each year, and it has cemented itself
as a main tourist attraction, especially at night
with a new, colourful lighting scheme.
Inspired by Moorish architecture, the structure
rises up four floors from an octagonal base
to a dome with a height of around 30-metres.
The building is decorated with azulejo, painted
ceramic tilework, and is located on the
Malecon, a popular city boardwalk lined with
historical monuments, museums and gardens.
In coordination with Mantenimiento Técnico
Especializado (MTE), Salotec Luminoplastia,
Ecuador’s local architectural lighting company,
was in charge of designing and installing a
dynamic lighting system to illuminate the
tower at night. Due to the height of the
building and the tall trees surrounding the
structure, the team could not use poles or
place visible elements in the environment.
To create an all-encompassing lighting
system, Monica Velasco and Miguel Salomón,
Salotec Luminoplastia designers, needed to
find versatile lighting products to illuminate
the 30-metre tall tower. The team reviewed
numerous products that could provide
precise, colour changing capabilities and the
ability for control-driven lighting to enable
scheduled and intricate lighting schemes.
Based on their extensive research, Salotec
Luminoplastia specified high-efficient,
050 www.arc-magazine.com
architecture LED products from Acclaim
Lighting.
“The new lighting scheme produced a
beautiful and colourful result, obtaining the
approval of the client and the happiness of
the citizen. The tower is illuminated like never
before,” said Velasco
Eight Dyna Accent fixtures were chosen
based on the design, performance, IP-rating
and quality requirements. The high output,
outdoor-rated flood fixtures with DMX and
RDM drivers highlight the dome, offering
colour-changing capabilities. They provides
1,423 lumens at 4,000K and maintain
70-percent of its lumens at 150,000 hours.
Custom to the application, Dyna Accent
fixtures offer a beam angle of six, 20, 40, 60
and 10x60-degree spread lens options for
precise lighting placement without creating
light pollution.
To light the interiors and clocks, four Dyna
Flood white, eight RGB floor luminaires
with adjustable angle and 24 RGBW LED
luminaries were installed. The quad colour
technology, auto switching multi-voltage
power supply and on-board touch sensitive
menu allows for dynamic illumination in the
tower, while balancing the lighting on the
building’s exterior. The Dyna Flood fixtures
provide 1,176 lumens at 4,000K and maintain
70-percent at 50,000 hours with a power
consumption of 25-watts. The products
were chosen for the power and opening at
short distances, with the capability to pivot
180-degrees to set the exact angle needed.
In addition, two Dyna Drum SO fixtures
positioned side-by-side were installed in the
exterior grounds with 15mm tempered glass.
The fixture provides 4,656 lumens at RGBW
and maintains 70-percent of its lumens at
120,000 hours. Built with an excellent system
of heat dissipation and ideal for façade lighting
applications, the built-in lighting does not
interfere with the landscape or surrounding
area. The Dyna Drum SO fixtures brighten the
exterior with colour changing capabilities.
The lighting scheme for the Moorish
Clock Tower is controlled by the ART500,
a touch panel DMX controller with 1,024
DMX channels and 500 preset scenes. The
controller is designed for RGB and RGBW
lighting products and features a PWM output
which can directly drive 12-24VDC LED
fixtures. It allows four programmable static
colour presets and a manual speed and
dimmer function, enabling the most effective
control system for the tower.
The Moorish Clock Tower brightens the night
with intricate colour schemes, coordinated for
special holidays and occasions. Citizens and
tourists alike can enjoy its beauty illuminating
through the darkness.
www.acclaimlighting.com
A tribute to Hall 3.1 Stand C61

good design

Stormbell
Design by artec3 Studio

Conceived as the successor to Lamp Lighting’s most iconic

bell fixture. A tribute to good design inspired by a more
rationalist approach. The interaction between different
types of illumination and accessories makes it possible to
create different environments, making this bell fixture an
indispensable element for hospitality and retail applications.

www.lamp.es
 SPOTLIGHT
Church of St. Mariä Geburt, Grevenbroich
Germany
The Roman Catholic parish church of St. Mariä
Geburt in Grevenbroich, a small town near
Düsseldorf, was built in 1930. The interior surprises
with an unexpected, unusual, spatial form. The long
rectangular, single-nave sanctuary is spanned by a
low-pointed barrel vault that brings to mind an image
of an upside down hull. Deep lunette-type window
reveals accentuate the vault, lending the space a
rhythmic structure.
The interior was recently subjected to refurbishment,
implemented by Planwerk a Büro für Architektur,
which also led to a fundamental redesign of
the church lighting. The interior was previously
illuminated by two parallel rows of glass pendant
luminaires. Replacing the old, plastered-in cabling
would probably have meant replastering the entire
vault. For preservation reasons, but above all to
reduce the renovation costs in Grevenbroich,
alternative lighting options were sought. The solution
was found in Erco track spotlights, which offered an
efficient and technically feasible approach to high-
quality lighting design with maximum flexibility.
One of the many advantages for the builders was the
fact that a track system did not require new wiring.
The U-shaped layout of the track was achieved using
the existing fixtures for the pendant luminaires.
However, the most convincing argument as far as
052 www.arc-magazine.com
the parishioners were concerned was that the Erco
solution significantly improved the quality of lighting
inside the church. Whereas before, the decorative
glass pendant luminaires had emitted diffuse, non-
directional light, the track-mounted Optec spotlights
now allow for a differentiated and easily variable
lighting concept. The solution combines general
lighting with eye-catching accent light.
Optec 24W lens wallwashers in warm white
achieve uniform vertical illuminance for optimum
ambient lighting inside the church, creating an
atmosphere that brings its unique architecture to
life. Supplementary accent lighting is provided by
Optec spotlights of the same wattage and colour
temperature, with spot and wide flood distributions,
emphasising important areas and objects.
Focus is given to the altar with the ambo, a lectern,
in front, whilst at the same time accenting two
chapel statues elevated on ledges either side of the
chancel. In addition to this, special light scenes were
programmed for occasions such as Good Friday or
Easter mass, to underline the significance of these
holy days. According to reports from Grevenbroich,
the response by worshipers is consistently positive.
In the new light, the space now appears much more
friendly and festive than before.
www.erco.com
Loop
A brand of Simon Group

Antoni Arola design for Fluvia

Loop invites you to create

inspiring spaces of shapes and light.

Frankfurt am Main
18-23.3.2018
Hall 1.2/C-50
 SPOTLIGHT
Light.ication v2.0
Dubai
Light Middle East 2017 saw the return of Light.ication
- an event created by Sakina Dugawalla, Principal
at Light.Func, that inivtes architecture and design
students to work with lighting designers on special,
one-off installations.
The second installment of the event featured Nathan
Savage Lighting Design, Heba Hani, CD+M Lighting
Design Group and DPA Lighting Consultants working
alongside students from Heriot Watt University Dubai
Campus, Manipal University Dubai and American
University in Dubai.
The theme of this year’s event was Holi Festival -
Interpretation of Light. “Following on last year’s Culture
of Light theme, the Holi Festival seemed apt for
what it represents - culture, colour, excitement, fun,
interaction,” said Dugawalla.
“The whole idea behind Light.ication is to infuse an
otherwise serious take on lighting design, with fun and
mentorship, and to raise awareness for the creativity
that the lighting design community strives for. I am
so proud of the students for their hard work, the
manufacturers for their tenacity and support, and for
the studios who gave back so much to the community
and really went the distance.”
The winning entry came from CD+M and Heriot
Watt University, whose concept was to have visitors
experience the Holi Festival.
People dressed in white, throwing colour around in
054 www.arc-magazine.com
celebration signals the start of the Holi Festival. Initially,
white light is used to depict calmness. A white sheet
and artefacts dabbed in colour become visible, bathed
in total white. Music progresses and washes of colour
illuminate the booth blue, red, yellow and green,
merging to the point that you can no longer tell them
apart.
Using different effects, visitors are immersed within a
shadow play, rushing lines of light that chase all around
the booth, finally glowing remnants of the festival are
visible as handprints, pebbles and markings. Music and
light are used in tandem, moving from calm, play, flurry
of excitement, to aftermath.
The judges, comprised of Martin Valentine, lighting
expert at Abu Dhabi Municipality and now Global
Design Director at Ligman; Brendan Keely, Secretary
at the Society of Light & Lighting; and Simon McNally,
Director at McNally Design International, were
impressed by how simple the concept was, the
attention to detail, and very realistic immersion of each
visitor within their installation that gave the experience
of being part of the Holi Festival.
In arc 101, we mistakenly accredited DPA and the
American University in Dubai as winners. We apologise
for this error and for any damage this may have caused
to CD+M and the students at Heriot Watt University.
www.lightme.net
www.lightfunc.org
PROLICHT
MAKES A
DIFFERENCE
FRANKFURT A.M. | GERMANY
18–23 MARCH 2018
HALL 3.1 | BOOTH A41 + A46

WWW.PROLICHT.AT/LB18

MANDARIN ORIENTAL NEW YORK

PARTNER: ZANEEN | INTRERIOR ARCHITECT: TIHANY DESIGN
LIGHT PLANNING: FOCUS LIGHTING OF NYC | PHOTO: GEORGE APOSTOLIDIS VISIT USON:
VISIT US ON:
NDYLIGHT
NDYLIGHT is a total lighting design consultancy with
a holistic approach, considering a building’s 24-hour
use and appearance. The company’s designs are highly
integrated into the architectural and interior designs
and push boundaries with regards to the technologies
and energy use.

Centrum Chodov Shopping Centre

Prague, Czech Republic
Due to its status as a landmark of Prague, and a focal shopping centre
for locals and tourists alike, the lighting design for the refurbishment and
expansion of Centrum Chodov required an innovative approach that
complemented the purpose of the building, and the architectural features
throughout the space.
The major feature of the lighting design is the curved lighting installation
that flows throughout the main traffic spaces, providing general illumination
as well as a calming sense that encourages casual yet purposeful
movement through the thoroughfares. The key element of the design was
the smart integration of the luminaires within the architectural features.
The main thoroughfares are lit in exacting detail, with the lighting integrated
into the ceiling features to conceal the fittings as much as possible. This
created a seamless transition between spaces, while keeping the lighting to
a comfortable level throughout. The project featured a tight timeline, as well
as a preference for local light fittings to aid maintenance costs. NDYLIGHT
collaborated with local teams to ensure that suitable light fittings could be
sourced for each lighting effect throughout the mall.

Fenwick New Bond Street

London, UK
NDYLIGHT worked with Fenwick to create a
new ‘look good, feel better’ ground floor for
their iconic department store at New Bond
Street, London. The design intent from Fenwick
was to create an experience to escape the
hustle and bustle of the retail streets. The
ground floor lighting design creates clearly
defined areas whilst highlighting the individual
brands and providing pathways to guide
shoppers.
Within the Beauty area, NDYLIGHT were able
to use a designed suspended beauty wheel
to accentuate the smaller concessions by
back illuminating each brand signage and
using directional LED downlights to focus
the illumination to the display cabinets. The
delicate shelving within the Skin Wall area
received discrete, decorative spotlights that
blend in to the shelf design and illuminate the
face of the merchandise.
A key element was to provide clean ceilings
through the main thoroughfares, with lighting
concentrated onto each department zone,
leading you to further explore the individual
displays. The feature handbag shelving
incorporates linear LED strips, which will
accommodate the frequent rotating of the
product. In front of the Handbag display is a
number of circular, ‘floating’ antique mirror and
bronze displays. These displays incorporate
a coffered ceiling with concealed lighting to
help create a floating effect. As part of the
refurbishment, NDYLIGHT were able to replace
the existing fittings with new LED energy
efficient fittings, helping the store reduce their
energy consumption.

056 www.arc-magazine.com

Collins Square Conference Centre
Melbourne, Australia
Working with the design team from Carr Design
and Walker Corporation, NDYLIGHT developed
the lighting systems throughout all the front-of-
house spaces of this new facility. Spread across
two levels, these areas include the reception and
bar area, pre-function space, dining room, flexible
meeting rooms, conference room and a range
of other meeting spaces. The client required a
lighting solution to create a feeling of quality and
exclusivity.
To achieve this, NDYLIGHT used a blend of
uniformly spaced lighting elements, rear
illuminated feature walls and joinery. Directional
luminaires were used to highlight particular
Medibank 720 Bourke Street
Melbourne, Australia
The Medibank fit out at 720 Bourke Street
includes a range of architectural and interiors
elements that push it to the leading edge of
workspace planning. One of the key elements
as part of this strategy was the Plaza level.
On this level, four collaborating design teams
developed separate spaces that link together
to form the whole. Each of the spaces
provides a different type of space, a different
usage type and ultimately, a distinct visual
and workspace experience.
The Kerry Phelan Design Office (KPDO)
clubhouse was designed to provide a lounge
design elements, such as the uplights integrated
into the wine racks in the private dining area
that accentuate the rare and valuable vintage
wines available, thus supporting the exclusivity
and luxury requirements for this project. The
use of integrated lighting systems in key areas
dramatically adds to the occupant experience of
the spaces. With the dark finishes palette, lighting
is used to accentuate specific design elements
providing drama and focus. This project is a prime
example of how architectural lighting can add
value to a project, and the benefits of considering
integration and placement, rather than the
traditional blanket coverage of lighting schemes.
SNAPSHOT
environment with multiple meeting spaces
and work settings. The lighting design to this
space is focused around the development
of a feature suspended light form to
provide functional ambient lighting to the
various spaces that visually linked with non
illuminated feature ceiling elements to create
a visual layer / pattern above the meeting
spaces below. In addition to this, localised
pendant lights were used to define separate
spaces in the open area while articulated arm
lights allow adjustable lighting to the one-
person settings.
NDYLIGHT
NDYLIGHT is a specialist division of
Australian consulting firm Norman Disney
& Young, a Tetra Tech company with
offices in London, Melbourne, Sydney and
Auckland. They specialise in Architectural
Lighting Design with a team that come
from a wide variety of backgrounds
directly from, or allied with, lighting – such
as industrial design, interior design and
theatre. In the 29 years since its formation
in 1989, they have designed projects from
Abu Dhabi to Uzbekistan; from boutiques
to sports stadiums; from Stonehenge to
high-tech fit-outs, and its award-winning
projects and repeat clients are testimony
of its success over the last 29 years.
www.ndylight.com
www.arc-magazine.com 057
 BRIEFING
Giovanni Bonazzi
Following the announcement that 3F Filippi had acquired Targetti, arc caught up with Giovanni Bonazzi,
CEO of 3F Filippi to talk about the acquisition, and what it will mean for the two brands going forward.
What is the history of 3F Filippi?
3F Filippi (Fluorescent Fixtures Filippi) was founded in 1952, by my
father, Romano Bonazzi, and his partner Martino Filippi, who died
a few years later due to a traffic accident. The company aimed to
design, produce and sell lighting fixtures equipped with fluorescent
technology. The decision to enter this sector was based on the
growing demand for high efficiency systems, able to illuminate the
ever-increasing number of industrial plants that opened their doors
every day in post-war Italy. My father understood the great potential
of the lighting market development in our country and abroad, and
continued to run the company along with my mother Mirella until five
years ago, when he left 3F Filippi to me and my sister Cristina.
What is your role at 3F Filippi and how did you get there?
I hold the position of Chief Executive Officer, but I have been working
in the family business for many years. After completing my studies, in
fact, I joined 3F Filippi, dedicating myself to commercial activity and
marketing. Over the years, I gradually joined my father in the choice of
strategies to be undertaken.
Why did 3F Filippi acquire Targetti?
In our 66-year history, we have achieved high-level performance in our
reference markets, such as industry, commerce and the tertiary sector,
and have a consolidated experience in the design and production of
efficient technical lighting systems. Our will to constantly test ourselves
led us to take over a historic brand such as Targetti, aiming to expand
our product range and develop industrial synergies with a move into
the field of architectural lighting for indoor and outdoor environments.
Furthermore, the wide range of products allows us to proudly bring
‘Made in Italy’ to more than 50 countries, and grow further in markets
with great prospects, such as the USA, United Kingdom and China,
thanks to the dense sales network and to foreign branches.
Was it a straightforward process or was there a lot of negotiation?
It was not a long negotiation (just consider that the IDEA Fund had
acquired Targetti less than a year ago). Once we established that
there was no lack of opportunities to grow together on international
markets, we did not find it difficult to close the deal.
What are your plans going forward with the Targetti brand?
Our aim is to bring the Targetti brand back to the growth levels of
a few years ago. It is a difficult challenge, the one we are facing, but
we are convinced that, thanks to adequate synergies with 3F Filippi,
the Florentine company has what it takes to regain the prestige it
deserves.
058 www.arc-magazine.com
How will the 3F Filippi and Targetti brands sit together?
Even if this acquisition has created one of the most important
Italian lighting groups, it is important to remember that we never
thought about merging the two companies. They will continue to
move autonomously, in order to keep valuing the approximately 600
employees who every day contribute to the growth in their concerned
sectors. We are extremely satisfied with how the company has been
managed up to now, and we have found an excellent management
team and a close-knit and motivated team of collaborators.
That said, we will do everything to ensure that the pluses of one can
become, from now on, a competitive advantage for the other. For
example, I am convinced that the considerable commercial know-
how gained over the years by Targetti in markets such as China, USA,
United Kingdom, Russia and the United Arab Emirates will also be
useful to 3F Filippi to develop its business in these countries, where it
has had little presence until today.
Will there be any more acquisitions in the future?
Even if we never say never, I believe that in the next few years we will
be purely concentrated in the growth of current brands, including that
of Duralamp (a subsidiary of Targetti).
What will you be showing at Light+Building?
Of course Light + Building will see the participation of both brands,
each with its own stand. In the case of 3F Filippi, some new versions
of our appliances for industry and retail, much better performance
than the previous ones, will be shown to the visitors. Moreover, the
company will present a world premiere of some new lighting fixtures
dedicated to work spaces, and in particular to the office. These are
products that we are planning and developing together with some
important Italian architectural firms.
How do you see the architectural lighting industry developing in
the future?
I believe that a future full of challenges awaits us. The progressive
affirmation of LED in every sector, for example, will “push” companies
to complete the adaptation of their devices by equipping them with
this type of light source. But the challenge will also be commercial. The
most successful companies in the coming years will be the ones able
to offer the best on the market, with a wider range of offers. Leaving
aside, at least in part, the world of design-oriented lighting, I think that
the greatest successes will be achieved by those companies, or groups,
which will provide any type of lighting solution, setting themselves not
as a simple products supplier, but as a a real partner that offers high
added value solutions for the customer.
www.3f-filippi.com
Make your Daily life more Vivid
I t ’s n o t a b o u t a d d i n g o r f a k i n g c o l o r s .
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060
 DARK SOURCE

Dark Source Stories

created by Kerem Asfuroglu
instagram.com/darksourced

www.arc-magazine.com 061
Specification Integrity:
Getting from A to Built
John Martin, IALD
Public Policy
Consultant, talks us
through the IALD
and LIRC’s newly
published Guidelines
W
hat is Specification Integrity and why is it
important?
Every designer – in any medium – has been

for Specification there: that moment when you see the final
outcome of a project but don’t recognise

Integrity.
your own work. Something’s happened
along the way and the design has been
changed. If it can happen at the micro level where collaboration
is minimal – say a ruined poster from a copy shop – the risks
of altered design at the scale of the built environment are quite
literally monumental.
Specification Integrity refers to the importance of maintaining
the lighting designer’s original specification – and design intent
– throughout the design-bid-construction process. A perennial
challenge in the process of creating the built environment is how
to ensure that what is designed is what is built.
For designers, defending specifications against assaults is
important. It is generally pretty obvious to designers, but not
always to everyone else, that only by following the specifications
for a job can an installation embody the design intent and achieve
desired impact and results. Those results can range from occupant
comfort to increased retail sales and everything in between;
they depend on building the project as designed. In short: design
matters, and that means specifications matter.

Where do threats to specs come from?

In general, threats to specifications arise for financial reasons.
One or more participants in a project think a less expensive
product will accomplish design intent as well as a product
specified. Financial arguments can take many forms: budget
constraints, “value engineering”, reductions through single-
source “packaging”, or contractor substitutions. Each of these
rationales suggests that different products from those specified
will accomplish the same project goals. The designer knows that
such substitutions usually won’t achieve those goals, and the trick
is to convince everyone else of that fact.

How can a designer ensure Specification Integrity?

John Martin, IALD Public Policy Con-
sultant, Senior Design Associate, KGM
Architectural Lighting
The twin keys to ensuring that projects are built as designed are
excellent specifications and strong relationships. “Excellent
specifications” are written clearly and concisely; they are
thorough and based on solid technical and optical data, informed
by the designer’s aesthetic judgement. They are based on a
systematic approach to lighting challenges backed up by data and
experience.

062 www.arc-magazine.com
 IALD

Relationships are equally important in making sure that projects

are built as designed. Lighting designer Kevin Theobald, IALD, says:
“Writing a ‘water-tight’ spec is only helpful if you get everyone on
your side. You must be able to explain to owners, contractors and
others the reasons for your choices, so they see the logic of your
choices and how your design works.”
If a spec is excellent and a designer’s relationships are strong, the
result is credibility. Theobald points out that “‘Because I said so’
will not convince a design team or an owner to rely on you; you must
build relationships and show you know what you are doing.”

Defend the Spec at each step.

Threats to lighting specifications may arise at any point in the project
process. If possible, a lighting designer must remain involved in a
project at all stages of design, bidding, and construction. Theobald
points out: “It is necessary to reinforce your ideas, your credibility
and your expertise with the design and construction teams at every
point. You never know when substitutions will be tried.” Lighting
design practices often work globally, and similar threats go by
different names around the world, but the keys are always the same:
knowledge, involvement, communications and relationships.

IALD resource addresses Specification Integrity.

In late October 2017, the IALD and its manufacturers’ offshoot, the
Lighting Industry Resource Council (LIRC), released the 2017 Pilot
Edition of the Guidelines for Specification Integrity, an update and
reworking of a document first published in 2009.
To make the material as easy to use as possible, the guidelines are
available as an online, downloadable publication with internal
links and references. Moreover, the IALD and the LIRC intend the
materials to evolve and improve over time. The pilot edition is a
starting point for “crowdsourcing” improvements to the document,
as we invite readers to share any additional checklists, examples,
stories, or suggestions from your practice. Share your ideas and
submissions for additions with me by emailing me at john@iald.org.
Adherence to specifications helps both designer and manufacturer—
the former by ensuring that the project is built as designed, and the
latter by ensuring that the products best suited for the project are
incorporated into it. The updated “Spec Integrity” materials help
clarify and publicise the importance of adhering to specified products
in every project.

The Specification Integrity is available online at

http://iald.me/specinteg

www.arc-magazine.com 063
 Eye Liner
Designed by Dutch architects MVRDV along
with the Tianjin Urban Planning and Design
Institute, Tianjon Binhai Library, nicknamed
‘The Eye’, features illuminated floor-to-ceiling,
terraced bookshelves able to hold 1.2 million
books, and a luminous sphere that serves as
an auditorium with a capacity of 110 people.

PROJECT DETAILS
Tianjin Binhai Library, Tianjin, China
Client: Tianjin Binhai District, China
Architect: MVRDV, Netherlands
Co-Architect: Tianjin Urban Planning and Design Institute, China
Lighting Design: Tianjin Architecture Design Institute, China

All pics © Ossip van Duivenbode

064 www.arc-magazine.com
 PROJECT

Pic: Justin Ford

www.arc-magazine.com 065
BORA

I
Above The Eye is bathed in cool white light t’s not often that a newly opened
creating a contrast with the natural, 4000K
cove lighting of the terraced bookshelves building normally associated with
and ceiling contours.
dusty, quiet rooms and bland
architecture attracts so much interest
in the international press. Both architectural and
popular media have drooled over the extraordinary
design of the Tianjin Binhai Library in China by
Dutch architects MVRDV and local designers
Tianjin Urban Planning and Design Institute
(TUPDI). The 33,700sqm cultural hub, part of a
larger masterplan to provide a cultural district for
the city, features a luminous spherical auditorium
and floor-to-ceiling cascading bookcases not only
as an education centre, but also social space and
connector from the park into the cultural district.
An oval opening punctured through the building is
propped open by the Eye, a luminous sphere with
an auditorium, which takes the main stage within
the atrium and enlarges the perceived space
within. The building is lifted upwards creating
cascading floor to ceiling bookshelves that also
act as seating and walkways leading to more
private reading rooms. Terraced bookshelves
“Lighting was crucial to meet the
final result. The lighting supports
the concept of the interior which
flows as a continuous element
through space.”
Maria Lopez, project leader, MVRDV
PROJECT
echo the form of the sphere to create an interior,
topographical, landscape whose contours reach
out and wrap around the façade. In this way, the
stepped bookshelves within are represented
on the outside, with each level doubling up as a
louvre. The library’s open glass façade opens to
the park outside so it is a light, airy and welcoming
space.
“The Tianjin Binhai Library interior is almost
cave-like, a continuous bookshelf,” says Winy
Maas, co-founder of MVRDV. “Not being able to
touch the building’s volume we ‘rolled’ the ball
shaped auditorium demanded by the brief into the
building and the building simply made space for
it, as a ‘hug’ between media and knowledge.”
Maria Lopez, MVRDV’s project leader,
commented,“The library building can be
understood as a zipper that transitions gradually
from a normal building to its eye (spherical) core.”
MVRDV made proposals for the lighting design
during the design phase but eventually this task
fell to TUPDI who designed the lighting for the
atrium and then assigned Tianjin Architecture
Design Institute (TADI) for all other areas with
lighting designer Huayi Jianyuan leading the
project for TADI.
The terraced bookshelves and ceiling relief are
highlighted by natural white flexible cove lighting
(provided by Osram 4000k Value Flex G2) that
echoes the form of the sphere creating a luminous
topographical landscape whose contours reach
out and wrap around the façade. In this way, the
stepped bookshelves within are represented
on the outside, with each level doubling up as a
louvre.
By contrast, the Eye is illuminated in cool white
emphasising this remarkable structure within the
building.
Maas said: “The Eye is the centre of the library. It
www.arc-magazine.com 067
 “The angles and curves are meant to
stimulate different uses of the space,
such as reading, walking, meeting and
discussing. Together they form the ‘eye’
of the building: to see and be seen.”
Winy Maas, co-founder of MVRDV

Pic: Vincent Laganier, Light ZOOM Lumiere

“The contours connect the
library to the park outside
and the public corridor inside,
serving as louvres to protect
the interior against excessive
sunlight whilst also creating a
bright and evenly lit interior.”
Maria Lopez, project leader, MVRDV
‘hollows out’ the building and creates, out of
bookshelves, an environment to sit, to read,
to hang out, to climb and to access, to create
an organic social space. In its heart is the
auditorium which mirrors the environment,
giving a 360-degree panorama of the
space inside; a truly reflective and pensive
environment.”
The futuristic library sits within a sheltered
gallery, topped with cathedral-like vaulted
arches, which winds its way throughout the
scheme. MVRDV’s project is surrounded by
four other cultural buildings designed by an
074 www.arc-magazine.com
international team of architects including
Bernard Tschumi Architects and Bing Thom
Architects.
The five-level building also contains
extensive educational facilities, arrayed
along the edges of the interior and accessible
through the main atrium space.
“We opened the building by creating a
beautiful public space inside; a new urban
living room is its centre,” added Maas. “The
bookshelves are great spaces to sit and at
the same time allow for access to the upper
floors. The angles and curves are meant to
stimulate different uses of the space, such
as reading, walking, meeting and discussing.
Together they form the ‘eye’ of the building:
to see and be seen.”
The public program is supported by
subterranean service spaces, book storage,
and a large archive. From the ground floor,
visitors can easily access reading areas for
children and the elderly, the auditorium, the
main entrance, terraced access to the floors
above and connected to the cultural complex.
The first and second floors consist primarily
of reading rooms, books and lounge areas
whilst the upper floors also include meeting
rooms, offices, computer and audio rooms
and two rooftop patios.
Tianjin Library is part of German architects
GMP’s 120,000sqm masterplan which aims
to accentuate the characteristics of the
surrounding districts. Through its design,
 PROJECT

Above Lighting design of the interior

was realised by Huayi Jianyuan of Tianjin
Architecture Design Institute (TADI),
contractors for the project brought on
board by local designers Tianjin Urban
Planning and Design Institute (TUPDI) who
were co-architects with MVDRV.
Overleaf The contoured bookshelves
create a multi-layered interior that add
elements of light and shade to the design.

www.arc-magazine.com 075
 project
LIGHTING SPECIFIED
3km Osram Value Flex G2,
800lm/metre, 4000K, CRI80
(the rest of the luminaires are
locally sourced)
Mean Well power supplies
076 www.arc-magazine.com
the complex will become a junction point for the
Central Business District, old town, residential
districts, commercial areas and the government
quarter; hoping to compensate for any missing
programme in each. The library’s outer volume
was given in the masterplan so the Eye and its
surrounding semi-public area are an internal
space, like an inverted icon, acting as a central
point and folly in the building.
The library is MVRDV’s most rapid fast-track
project to date. It took just three years from the
first sketch to the opening. Due to the given
completion date site excavation immediately
followed the design phase. The tight construction
schedule forced one essential part of the concept
to be dropped: access to the upper bookshelves
from rooms placed behind the atrium. This change
was made locally and against MVRDV’s advice and
rendered access to the upper shelves currently
impossible. The full vision for the library may be
realised in the future, but until then perforated
aluminium plates printed to represent books on
the upper shelves.
In the Kindle era, the difficulty of getting people
to visit libraries to interact with books is obvious.
However, since its opening in October 2017, visitor
figures have gone through (or should that be,
undulating through) the roof. MVRDV has created
an iconic piece of architecture that will live long in
the memory for as long as books are still enjoyed.
www.mvrdv.nl
 WORLD N°1 OF THE STRETCHED CEILING Lighting Solutions
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 Light is The Word
In the face of austerity, Desco teamed up with FaulknerBrowns
Architects to create The Word, a stunning new library and social
hub for the community of South Shields.

Pics: Hufton & Crow

078 www.arc-magazine.com
 PROJECT

PROJECT DETAILS
The Word, South Shields, UK
Client: South Tyneside Council
Lighting Design: Desco, UK
Architects: FaulknerBrowns Architects, UK

www.arc-magazine.com 079
 PROJECT
Previous page The unique circular
design of The Word was intended
to mimic the fanning pages of an
open book.
Above Inside the building, an
expansive, three-story atrium
dominates the space.
080 www.arc-magazine.com
I
n the UK, the impact of austerity
measures over the past few years has
hit certain sectors hard – particularly
public libraries. Cut backs on
expenditure have led to a raft of library closures
across the country, and for all intents and
purposes, it appeared that the local library was
fading from British society.
So much so that figures recently published by the
Chartered Institute of Library and Information
Professionals, there has been a 14-percent decline
in library visitors over the past five years.
That is not the case in South Shields though, as
thanks to FaulknerBrowns Architects, Muse
Developments and Desco, a stunning new library
building has been constructed.
Dubbed The Word, the new building is not just
intended to be another run-of-the-mill library,
but an outstanding social hub for the community,
with it’s unique circular structure designed by
FaulknerBrowns to mimic the fanning pages of an
open book.
Located on a prominent gateway site linking South
Shields’ riverside area with the town centre, The
Word is one of the first projects for the
redevelopment of the area, and as such the scheme
needed to be successful to provide a striking new
focal point in the North East town’s marketplace,
in which its community can take great pride, and
from which the wider regeneration will develop.
Because of this, the design and construction team
created a shining example of an attractive,
efficient civic building, encompassing design
features that reflect the town’s industrial and
manufacturing heritage, enhanced by a
complementary, bespoke lighting scheme,
developed by Desco, to attract and engage visitors.
Desco had previously developed a good
relationship with FaulknerBrowns, having worked
on numerous projects together over the years.
Through this existing relationship, Desco were
recommended by the architects to Muse
Developments to join the team.
From this initial recommendation, Desco was
involved from the project concept through
coordination, installation, commissioning and all
the technical aspects of the lighting scheme,
including prototype design and approval.
Alongside this, they worked with manufacturers
Hacel and Atelje Lyktan to develop some bespoke
lighting solutions.
James Davison, Senior Design Engineer at Desco,
explained how he worked with the architects to
develop the lighting concept: “FaulknerBrowns’
initial concept of an open book with the pages
fanned out was also the main inspiration for the
lighting design.
“The concept matured as the client’s ambitious
vision for a more wide-ranging, exciting visitor
attraction emerged. As the brief and client
If you can draw it, we can produce it
The ateljé Lyktan Studio specialises in bespoke solutions for architectural lighting

The Word Library, design by FaulknerBrowns

6,5 m diameter fitting with 66 independent colour changing light drums
082 www.arc-magazine.com
 PROJECT

www.arc-magazine.com 083
 PROJECT

Previous page A bespoke chandelier,

developed by Desco in collaboration
with Atelje Lyktan, acts as the heart of
the building. The chandelier features
tuneable white LEDs that gradually
change colour temperature throughout
the day, simulating the progression of
natural daylight.
Left Large glass walls fill the building
with natural light, while offering views
of the River Tyne and the neighbouring
Grade I listed Old Town Hall: two
enchanting aspects of the building’s
historic context.

“Faulkners had a expectations gradually evolved, so too did the lighting design,
retaining a flexible approach to the design being the key element.

very keen sense of

“Faulkners had a very keen sense of how they wanted the building to
look and the lighting needed to tie into this vision whilst maintaining

how they wanted the

the element of flexibility throughout the building.”
However, while the lighting design needed to be flexible, there also
had to be a sense of uniformity. As the highly sophisticated building

building to look and includes library and exhibition spaces, alongside a number of key
areas allowing interactive exhibitions, storytelling and social spaces,

the lighting needed all co-existing alongside contemplative and study zones, Desco
sought to utilise a singular concept to illuminate all these areas,

to tie into this vision.”

creating a sense of commonality in the space.
Davison explained: “We developed the notion of a linear extrusion
with multiple uses, which could be interchangeable to reflect the
fluid nature of the architecture. These linear ‘spokes’ tied in with
James Davison, Desco
FaulknerBrowns’ concept and the overall ‘language’ of the building.”
The multiple uses of this bespoke linear extrusion meant that Desco
was able to adapt to the changes throughout the building as the areas
and room boundaries ebbed and flowed by modifying the luminaire
components to suit the spaces.
“Within the main luminaire housing there are three main sections,”
Davison elaborated. “High output linear sections to illuminate larger
areas and displays, track mounted spotlights to emphasise
exhibitions and key artwork pieces, and lesser output linear sections
with a more controlled and diffused light for areas where glare
control was paramount – offices and reading areas.
“By interchanging these elements within the confines of the original
‘spoke’ design, we were able to be extremely agile to the client’s
changes.”
This bespoke linear lighting design serves to complement the

084 www.arc-magazine.com
 The Light.

18. 3. – 23. 3. 2018 | Frankfurt
Hall 2.0, Booth A30/B30, B31

Museo delle Culture (MUDEC), Milan | IT

David Chipperfield Architects

Lighting solution: ARCOS

zumtobel.co.uk

MuseoCulture_236x333en_mondoArc.indd 1 29.01.18 13:43

086 www.arc-magazine.com

“I enjoyed the challenge
of creating a lighting
design that responds to
and complements the
architectural concept.”
James Davison, Desco
structure’s circular, ‘fanning pages’ effect,
extending from the building’s centre outwards, to
align with the architecture. The fluid solution of
multiple linear sections within a single extrusion
brings a sense of continuity to the design aesthetic
while maintaining the desired element of flexibility.
Desco collaborated with local manufacturers Hacel
to create this linear system, as Davison explained:
“Hacel were in the midst of developing a linear
lighting system and we were able to exploit this
process and tailor the luminaire to our needs.
“We started with the continuous extrusion – this
needed to come in different lengths to tie in with the
architecture. Once this ‘carcass’ was established,
the individual components could be inserted almost
like piecing together a jigsaw.”
The main feature, Davison explained, that
differentiates this system – which later became
Hacel’s Infinitas – with other linear installations is
the inclusion of the track section. This means that
the spotlights incorporated within the ‘carcass’
allow a single extrusion to run for, in some cases,
more than 10-metres, illuminating several areas
differently while maintaining a sense of
commonality.
On entering the building, a halo of LEDs integrated
into the soffit of the overhanging upper floors
illuminates the building’s perimeter at ground level,
encouraging the public to engage with the building,
while the glazed triple height atrium floods the
space with natural light, while providing stunning
views of the River Tyne and the neighbouring Grade I
listed Old Town Hall – two enchanting aspects of the
building’s historic context.
Due to its circular shape, the whole building appears
to emanate from a central point, the large, three-
PROJECT
storey atrium. The whole building seems to channel
visitors into this fabulous space, and the lighting
revolves around this concept. The linear lighting
emphasises this, while providing an optical illusion
that the entire building is sloping inwards.
At the heart of the development is a bespoke,
6.5-metre wide LED luminaire, designed by Desco
and FaulknerBrowns in collaboration with Atelje
Lyktan. The chandelier – the largest single fitting
ever manufactured by Atelje Lyktan, was custom-
made to fit an architectural ceiling recess with the
depth of the fitting dictated by the architect’s
vision. The installation is comprised of 84 ‘drums’
mounted to a bespoke frame. As the chandelier is
literally bolted to the soffit, all cables were hidden
within the bespoke mounting frame of the luminaire
installation, with the cabling cast within the
concrete before the installation design had been
completed.
The chandelier was incorporated with tuneable
white LEDs, allowing for the atmosphere and mood
of the building to be altered depending on the time
of day, as Davison explained: “The colour
temperature of the fitting is designed to simulate
daylight; a warm 2700k light in the morning
gradually changes to a colour temperature of 6500k
as the sun peaks, then turning back to 2700k tones
at sunset.
“As the colour of the light changes so gradually,
most people don’t realise the subtlety of the effect
directly. This gradual change results in the mood of Previous page A large, sweeping
staircase allows access to the centre’s
the building changing over the course of the day, four floors.
Above By using a bespoke linear
with the building awakening with the sun in rich lighting system, developed in
collaboration with Hacel, Desco
golden tones, achieving its peak effect at midday were able to adapt to the changes
with a very clean natural light, and gradually throughout the building and modify
each luminaire component to suit
returning to the early colours, changing and each individual space.
www.arc-magazine.com 087
 PROJECT
evolving the atmosphere of the building
throughout the day.”
Desco was also responsible for the external
lighting design, in which they aimed to
enhance and enliven The Word’s context
within the public market square, creating a
new meeting place and community event
space. Peripheral lighting with a mixture of
Concord uplighters and integrated LEDs
clearly defines routes and complements the
architectural form of the building, helping to
draw visitors in. The Word defines its
landscape, and the external lighting scheme
helps to transform and emphasise the
structure at nighttime.
FaulknerBrowns worked hard to ensure that
the building, while remarkable in its shape
and design, still held true to its
surroundings, paying homage to South
Shields’ industrial heritage with a palette of
materials chosen by the architect including
coal, salt, glass, stone and metal.
“As such, the colour temperature of the
luminaires needed to be correctly chosen to
bring out the rich tones in each of these
materials,” said Davison. “All of this occurs
within the confines of dark sky initiatives to
reduce light pollution, which is something
we were very keen to achieve.
“It would have been very easy to bathe the
building in light but we have picked out key
components to the external façade instead,
allowing the building to be highly engaging.
“The external lighting was also selected and
placed to highlight the circular nature of the
building, where traditional façade lighting
would have made the building appear flat and
lifeless, the shape is highly accentuated by
the scheme without ever overpowering it.”
Despite The Word being an incredibly unique
building, particularly for a library in the UK,
088 www.arc-magazine.com
Left The whole structure appears to
emanate from a central point: the large,
three-storey atrium, as the linear lighting
system creates the impression that the
entire building is sloping inwards.
Below The LED solution of linear sections
and adjustable spotlights within a single
extrusion brings continuity to the design
aesthetic, while also maintaining the
element of flexibility.
Davison asserted that Desco has, through its
experience in the leisure sector, worked on
projects of a similar nature in the past,
although he did concede that the approach
towards this building was quite different to
other projects.
“Sometimes a client or architect gives an
open brief to the lighting design – they’re
not sure exactly what they want but normally
have a strong idea of what they don’t! With
The Word though, the concept was well
established and the challenge became one of
ensuring the brief was met and maintained,”
he said.
“The other major factor in how this differed
from other buildings is the shape – there
aren’t too many spherical buildings built
these days! I enjoyed the challenge of
creating a lighting design that responds to
and complements the architectural concept.”
However, Davison revealed that, while he
enjoyed creating the lighting design for The
Word, trying to maintain the aesthetic while
having an eye on lighting requirements of
such a firm, restrictive geometric pattern
was a ‘real issue at times’.
“Avoiding over illuminating at ‘peak’ areas,
i.e. where the linear extrusions meet, meant
a lot of work was done on the DALI lighting
control system,” he said. “We dimmed the
lines of light as they became closer together,
but not too much so as it would be instantly
noticeable – we wanted to maintain a sleek,
uniform light.
“It’s a detail that isn’t immediately obvious
and possibly passes most by, but it’s
something that for me, although relatively
simple, really captures the extremely
detailed thought pattern that has been
applied to the lighting design.”
This detailed thought process has led to the
 Smithsonian National Portrait Gallery, Washington, DC • Lighting design and photography by Smithsonian staff
Luminaires by Lighting Services Inc. • Light sources: XIM Artist Series, CoB and point sources
Lighting control by Xicato GalaXi™ , Zigbee, Medialon

Building a Successful Coalition

(for Lighting Control)
Xicato GalaXi is a professional quality, fully featured Bluetooth lighting control solution that scales from a small home or shop to a
commercial office building or university campus.

But Xicato understands that complex problems require cooperation. At the Smithsonian, our GalaXi system controlled both Xicato
and non-Xicato light sources in a shared lighting control network with a third-party Zigbee system, all controlled by the Smithsonian’s
Medialon building management system (BMS). Our new Xicato Intelligent Drivers (XID) can provide deep, flicker-free dimming for
virtually any indoor luminaire, and the simple Xicato Intelligent Gateway (XIG) API allows us to work with any 3rd party lighting control
system or BMS.

Despite the apparent complexity of this network, the Xicato GalaXi system and API were so easy to work with that Alex was up and
running within hours.

How can we work with you?

See our multi-vendor GalaXi network at Light+Building Smithsonian

Outdoors, in the Agora (AG.0), Stand A10
Institution

@XicatoInc ™
xicato.com

AD 180206 Smithsonian.indd 1 2/14/18 9:46 AM

 PROJECT
creation of a very effective lighting design
throughout the new centre, serving both on a
functional basis to emphasise the architectural
form of the building, blending into the overall
concept of the design, and also as a statement
piece, with the bespoke Atelje Lyktan chandelier
dominating the three-storey space without ever
looking out of place.
“Both major applications achieve their goal and
demonstrate the technical capabilities and
expertise available,” said Davison. “Sometimes it is
difficult to imagine how a building will look,
lighting specified especially from 2D plans and even 3D models as the
light interaction within a space may differ in reality.
Atelje Lyktan Bespoke Lighting
“With The Word however, the vision we wanted to
Solution.
Atelje Lyktan Birdie achieve was clear and the similarities between our
Concord Ascent 50 initial concept sketches and calculations and the
Concord Beacon Muse finished building is striking.”
Erco Star Point Since its completion, the impact that The Word has
Fagerhult D63 had on the South Shields community has been
Fagerhult Notor LED
reflected in its success. Figures revealed that in its
Fagerhult Pleiad Evo
first two months of operation, this new cultural
Fagerhult Pozzo
Hacel Bespoke Solution (Fitting venue has attracted 88,000 visitors, and as further
that became the Infinitas) evidence of its success to date, 867 new readers
Lumiance Lumistrip have joined the library – an increase of nearly
Simes Megaring 400-percent compared to the same period at the
Simes Minizip old Central Library. Alongside this, there has been
Simes Movit Square
a staggering 750-percent increase in library users
Simes Nanoled
in the teenage demographic, which Davison puts
Simes Rotating LED Tube
Simes Walker down to the “sleek, modern and welcoming design
Trilux Polaron IQ of the building” being a major contributing factor
Zumtobel Craft in creating appeal for new and future generations
Zumtobel Micros of readers to come.
090 www.arc-magazine.com
“Against the backdrop of gloomy figures recently
published by the Chartered Institute of Library and
Information Professionals, The Word’s statistics
are very welcome news,” added Davison.
One of the most impressive feats of The Word
though, Davison believes, is that it was completed
not under the big budget that privately-funded
developments are, but the slender means of a local
authority deep in the midst of austerity measures,
making the success of the project all the more
remarkable.
“All aspects of the design needed to reflect this,
including the lighting package,” he explained.
“Our cloth needed to be cut accordingly whilst
maintaining a high level of design. This was
achieved by good design, collaboration and
innovative thinking; all leading to the
development of an iconic and flagship structure.”
Overall though Davison is delighted that The Word
can serve as a social hub for the local community,
providing a beautiful new location for residents to
take pride in and taking that all important first
step in the regeneration of the town centre.
“South Tyneside Council’s aspiration for the
scheme was for it to be an icon for South Shields,
promoting footfall and tourism back into the town
centre. The impressive visitor figures and positive
feedback serve to demonstrate how The Word and
its intelligent and eye-catching design is already
achieving that aspiration and helping to shine a
national spotlight on culture and design excellence
in the North West of England.”
www.desco.uk.com
 50°06’36.8”N 8°38’53.2”E

18 - 23. 3. 2018 | Hall 3.1 Booth B.61

Frankfurt am Main

Artwork_mondoarc.indd 1 15/02/18 16:00

Book Smart
We take a closer look at some of the other stunning library
projects being completed around the world.

Albion Library
Toronto, Canada
As the urban base for Toronto’s diverse Rexdale neighbourhood, Albion is one
of the city’s busiest public libraries. A responsive design approach by Perkins
+ Will delivers a tailored solution for a unique community in need of a
reimagined social epicentre.
Reminiscent of a walled garden, the dynamic façade gives the illusion of a
front porch trellis – its privacy veil injecting colour into the street.
Intentionally reflecting the vibrant personality of its local community, Albion
Library brings a colourful counter to the suburban streetscape outside.
Inside, the library footprint is divided into a series of open zones, and careful
composition of these spaces creates a rich and varied plan that accommodates
open, cellular and private spaces, ensuring ease of access and diversity of
experience. Courtyards weave nature and natural light deep into the library’s
interior, while bright colours and geometric shapes create a sense of
informality and playfulness in the curated greenspace.
Notched light is featured throughout; carefully placed windows and lighting
fixtures illuminate each area.
Perkins + Will worked closely with electrical consultant Mulvey & Banani to
come up with a lighting design strategy that would complement the design.
www.perkinswill.com

James B. Hunt Library

North Carolina, USA
Working closely with North Carolina State University (NCSU), Snøhetta
set a new benchmark for technologically-sophisticated collaborative
learning spaces with the design of the new Hunt Library.
As libraries move away from introverted spaces lined with shelves to more
vibrant social and collaborative spaces, the Hunt Library serves as a comfortable
living room for students, as well as their intellectual base-camp on campus.
A contemporary structure within a traditional context, the Hunt Library
provides a forward-thinking platform for influencing its surroundings. Both
technical and programmatic innovations are celebrated as part of the learning
experience, providing a versatile and stimulating environment for the user.
Generous open spaces connect all floors of the library, and open stairs
emphasise the interactive and social environment. The building’s
design celebrates the role that physical space plays in the intellectual
stimulation of its users, with the lighting design reflecting this also.
Self-regulated light fixtures are used in the interiors, while ample daylighting
also reduces the artificial light load. With solar panels located on the roof,
and the roof itself built with a high albedo, minimising the heat island
effect of the building, the library employs numerous sustainable measures
and creatively- integrated technologies to achieve a LEED Silver rating.
www.snohetta.com

092 www.arc-magazine.com
 PROJECT

Stadkammer
Zwolle, Netherlands
Formed out of Zwolle library and arts centre,
Stadkamer is a new organisation, and a hub
for information and advice, education and
development, language, literature,
performances, art and culture.
It was opened following a 5,900sqm library
extension and renovation of a former city hall
office building. The defining feature of
Stadkamer’s building is a frosted canal plate
curtain wall façade, which is one of the first
cortex façades in the Netherlands. The façade
is lit from within using acdc’s Blade Micro
luminaire, creating a striking, even
illumination.
For this installation, Blade Micro uses
18×64-degree optics, and is mounted end-to-
end for a continuous wallwash effect at the
top of the curtain wall at a height of
7.7-metres. Blade’s narrow elliptical beam
creates an even light from top to bottom,
helped by the reflecting surface on the bottom
of the concrete wall and façade, which reflects
light upwards. The surface and structure of
plates also reflect the light in a diffuse way to
create a homogenous lighting effect.
The translucent façade gives an understated
appearance during daylight hours but once
darkness falls, the building takes on an almost
magical appearance of a glowing box.
www.acdclighting.co.uk

Tecnológico de Monterrey
Monterrey, Mexico
Sasaki worked with the Tecnológico de
Monterrey in Monterrey, Mexico to
transform its original 1969 library building
into a more relevant and collaborative
academic hub. The new library, situated on
the site of the previous library, embodies the
academic mission of the Tecnológico de
Monterrey, a place where students, faculty,
staff, and the region’s industry leaders come
together to access information, study,
collaborate, and be inspired.
The ground floor of the library contains a
dramatic new student plaza bracketed by a
cafe, an auditorium, a gallery, and a
makerspace lab. Dramatically perched above
this plaza are the upper floors of the library.
By placing the library above this open space,
views and connections are created across the
campus, and the plaza itself is shaded by the
library above. Comprising four floors of
program elements, the library transitions
from technology-rich collaborative study
spaces at its base to quiet, contemplative
study at the top. A central staircase extends
from the plaza level to the rooftop,
culminating in dramatic views of Cerro de la
Silla, the iconic mountain that overlooks the
campus.
www.sasaki.com

The Library and Learning Centre

Vienna, Austria
The Library and Learning Centre, designed by Zaha
Hadid Architects with lighting design by Arup, is
located in the heart of the University of Economics
& Business (WU Wien) campus in Vienna, Austria.
Arup’s lighting designers created the conceptual
and detailed lighting for the internal public spaces,
library, offices, study areas and the exterior of the
building.
The lighting was influenced by the architecture –
two separate intertwined structures within one
space. These two buildings hold the library and
administration offices and are connected by glazed
‘canyons’ that act as a glue to hold the two
functions together. The lighting reinforces the
intertwined nature of the building through the use
of curved, linear luminaries; and by illuminating
the walls of the core structural elements with cove
lighting.
The circulation spaces that receive a large amount
of natural light are illuminated in a cool, white
light, while the library and administration spaces
are lit with warm white sources. The source of
knowledge and education is therefore a warm heart
of the building that draws visitors and users into
the space.
www.arup.com

www.arc-magazine.com 093
 “Peer review usually consists of the influential members of
your field reviewing your work and deciding whether it is
important and unique…. This dynamic reinforces the cliché
of academics: learning more and more about less and less.
It causes a hyper-specialisation where people in different
areas have a very difficult time collaborating–or even
communicating–with people in different fields.”
- Whiplash: How to Survive Our Faster Future

094 www.arc-magazine.com
 PROFILE

Renowned Finnish
designer, innovator, artist
and entrepreneur, Tapio
Rosenius is on a quest
to explore and question
major topics within the
lighting industry.

G
rowing up close to the Arctic Circle, Tapio
Rosenius has experienced and learned a very
alternative perspective and interpretation of
light compared to many of us. With extreme
variations in hours of daylight during the
year and near enough none during the winter,
Rosenius developed a strong fascination with
how natural light is a constant, malleable force, which would in turn
heavily influence his creative work as a lighting designer.
With multiple aspirations as a youngster, Rosenius swayed between
wanting to dominate the world as the biggest rock star to becoming
a diving instructor or arthouse filmmaker. Heavily influenced by
French cinematographer Sacha Vierny for his narrative driven and
beautifully abstract lighting interventions, as a student, Rosenius
pursued Photography and Film, and then moved on to study light as
an expressive medium at art school in Tampere, Finland, before he
eventually settled into the architectural lighting industry. Whilst
living in London in early 2000’s, he completed a Master of Science
in Light and Lighting at the UCL Bartlett.
His first role in the industry came about through an interesting
venture whilst still at school: “I started moonlighting for a Finnish
architectural lighting designer around 1996. We used lighting design
as a social integration tool for unemployed middle aged people in
Lapland. We tried to re-train them as ‘nighttime gardeners’ with
skills in ice sculpting and lighting design. Then in 1997, the art
school offered to pay me to go and do an internship somewhere
outside Finland. The condition was that I had to find a job in the
next 24 hours. After a night spent searching for ‘Lightning Design’
companies in AltaVista I found dozens of weather stations, and
amongst them Kevan Shaw Lighting Design from Edinburgh. I think
Kevan might have misspelled the word ‘lighting’ on his front page,
lucky for me! After a rather hilarious job interview over the phone, I
joined Kevan’s team and ended up working for him until 2001.”
Progressing on from this, Rosenius then moved to London to join
Maurice Brill Lighting Design until he left the role as Director in

www.arc-magazine.com 095
 PROFILE
Pic: Mark Cocksedge
2009 to bravely pursue his own lighting firm in
Madrid. Not only was setting up independently
a daunting prospect, Rosenius had also reached
a pinnacle life changing point with his wife,
who had just found out she was pregnant.
London had become an increasingly busy and
intense urban environment, so together they
returned to his wife’s home country, Spain, to
begin family life and establish the now well-
known firm Lighting Design Collective (LDC).
As Director of LDC, he works with light as a
medium for architectural collaborations, digital
interventions, product innovation and art, and
seeks to create tangible connections between
artificial light, digital futures, biomimetic
and the human experience. Specialising in
an imaginative and innovative approach to
architectural lighting, the team really focus
on state-of-the-art lighting schemes for
architecture and the built environment,
utilising high tech applications, digital content
and artistic assets.
A few years into the venture, Rosenius
partnered with Jari Vuorinen to establish LDC
Helsinki and then a little later with Kristian
Krogh to establish LDC London.
Spread across these three studios, the team
now includes leading designers, software coders
and digital artists who have built a portfolio of
world-class projects for numerous international
clients, and covers a wide span of applications
096 www.arc-magazine.com
from cultural, hospitality, retail, office,
residential, landscape and infrastructure.
Rosenius’ intrigue and admiration of natural
light is evidently at the root of the work LDC
produces. The way natural light moves in
infinitely different ways and how it relates to
time, space and context is key to the design
works produced, and research led, into lighting
practices used, both as an art form and for
its functionality. In addition to working on
lighting schemes with LDC, Rosenius is also
a product designer. He created the Light over
Time (LoT) luminaire with Artemide in 2017, a
series of lighting tools that allows designers to
re-imagine, reveal, reinterpret and modulate
spaces with precision optics.
One of the most notable projects to come
out of LDC is the SILO468, located in the
Kruunuvuorenranta district in Helsinki. During
darc room 2017 in London, Rosenius presented
this remarkable project that brings together
all of his recurring influences of natural light
and the natural environment together onto
one industrial canvas. The abandoned 1960’s
oil silo, sixteen metres high and 35 metres in
diameter, was transformed into a captivating
light installation. 2,012 holes were perforated
in the structure, where existing rust stains
already existed, and represent the year 2012, the
Helsinki World Design Capital year. During the
day, the sunlight shines through these holes to
Pic: Hannu Iso-oja
Pic: Hannu Iso-oja
Pic: Tuomas Uusheimo
Top Inside panoriamic view of the Silo468
illuminated in a bold red with white LEDs
rippling across the walls to mimic the
prevailing winds outside, live.
Middle A close up view of the white LEDs
used for the live illuminations of the
changing environment outside.
Bottom An exterior shot of the Silo468,
showing its close proximity to the sea and
the rugged environment it is situated in.
Next Page Tapio working closely with his
team at Lighting Design Collective.
098 www.arc-magazine.com
create moving patterns that mimic the sun
reflections on the surface of the nearby sea.
1,250 LEDs were placed inside the structure
that reflect against a red light background
at night. Custom made software, controlling
the lights, is used to monitor the outside
environment and determine the white
LEDs internally to match the movement of
the prevailing winds like a flock of birds,
live, ensuring the light sequence will never
repeat.
The installation’s aim was to become a
signifier for the start of a major urban
redevelopment for the City of Helsinki, and
to become a landmark and a marketing draw
on the landscape of the lesser-known district
it is situated in. In turn, the area, with its
11,00 inhabitants, quickly became referred to
as the ‘District of Light’.
Rosenius describes himself as a “cross-over”
designer that is constantly aiming to bridge
the world of architectural lighting with
other creative fields and new technological
research.
“The architectural lighting industry drags
behind all of the other lighting fraternities
(live, show, film, arts) in everything from
creative software to innovative hardware to
progressive design processes. I believe that
our built environments could be made more
inclusive, fascinating, practical, meaningful
and beautiful for all inhabitants if better
systems, better processes, more creative
software and more quirky lighting hardware
was available. So, I try to put my money
where my mouth is and invest into achieving
this goal,” Rosenius explained.
“I try to encourage the studios to operate
with an anti-disciplinary design philosophy
where the knowledge, research, aesthetic
and design is constantly mixed and the
outcome is highly contextual.”
‘The Future is for Antidisciplinary Design’
is an exploration into the future of the
lighting industry and the role and value
of the lighting designer within that world
today. Taking this theory as an approach
to the way he runs LDC, Rosenius cares
deeply about the lighting design profession,
perceives problems within it and opens it for
discussion to provoke healthy debate within
a professional audience.
During PLDC2017 in Paris last year, he
opened up this topic for discussion,
beginning with the question, “What if
Lighting Design was an ‘open ended’
profession existing at the creative edge of
the built environment services? What if the
current consultancy model is leading the
profession towards irrelevance?”
Providing an interesting look at our lighting
industry, it is important to keep relevant
and educated on the position you hold and
what you are working towards in order to
effectively manoeuvre your way through the
constantly evolving industry.
Throughout Rosenius’ lecture, he uses his
own experiences with LDC as a case study,
tracking the development of the Madrid
based studio and how it has adapted and
developed into a Dynamic Environments
Group consisting of architectural lighting
design company spin-offs for digital content
and software development, virtual reality
services, strategic design services and a
new technology start-up. Rosenius clearly
states that he is working on the basis of
his own opinions and experiences from the
industry, including research on programs
such as ‘Think in a Tank’ and the EU funded
‘Towards Digital Paradise’. He also draws
upon research taken from MIT Media Lab’s
work with a particular focus on that from
Joi Ito. Rosenius clearly encourages the
exploration into the architectural lighting
design industry and critically debates its
insular practices. He comments during the
PLDC lecture: “We don’t lead the innovation
within our own field nor do we inspire
related fields to follow us. We shy away
from criticising our peer’s work or the state
of our profession presumably for the fear
of ‘spoiling the party’. So what? We all get
along nicely, we are highly inspired by our

“I see myself as a ‘cross-over’
designer always trying to bridge
the world of architectural
lighting with other creative
fields as well as with new
technology research.”
- Tapio Rosenius
craft and there’s a nice community spirit. But
this hides an important and worrying trend.
For the rest of the built environment industry,
we, the independent lighting designers, are
becoming less relevant, less interesting, and
less necessary by the day.”
A bold claim to make, Rosenius passionately
pulls this theory apart, discussing it with
fellow designers alike and poses interesting
resolutions to the problems.
Is it merely an increase in competition in
the industry or a lack of compelling value
proposition towards the clients and the
architects, which is a likely influencer?
One of the concerns Rosenius has adopted is
PROFILE
Pic: Luis Diaz Diaz
through the client process. The combination
of services and design output produced by
Lighting Designers proves consistently identical
as well as the inclusion of the services that
aren’t design packages but instead a basic
set of consultancy tasks. Rosenius explains
further: “When a client compares any given
lighting design companies, many are like
identical twins where only the close family
can tell the difference between the two.
The clients have plenty of choice for these
seemingly identical ‘lighting design’ services
since they are offered simultaneously by
numerous lighting designers, engineering
consultancies, luminaire manufacturers, agents
and suppliers, other design professions and
even contractors. We need to ask ourselves
what is our value proposition and what is it
that truly differentiates us as a profession? And
most importantly, do we innovate enough?
The current model appears to be bringing the
prices down, sometimes to zero, and begs
the question: Is architectural lighting design
already a commodity?”
To explore this idea further, Rosenius
performed an experiment with LinkedIn
searches to see if different search results
filtered by industry based titles gave a clear
indication for the amount of pure lighting
designers. The results proved intriguing, as
the addition or subtraction of certain industry
based titles whittled down to an estimated
www.arc-magazine.com 099
 PROFILE

“Interdisciplinary work
is when people from
different disciplines
work together. But
anti-disciplinary
is something very
different; it’s about
working in spaces that
simply do not fit into
any existing discipline.”
- Joi Ito, Director MIT Media Lab

Pics: Anantara Hotels & Resorts

Pic: Artemide
Above The LoT (Light over Time) luminaire
Rosenius designed with Artemide.
Top Right Anantara Jabal Al Akhdar
resort hotel in Oman was notable for its
architectural lighting design for achieving
the ambience that suited that context
perfectly.
Below Anantara Jabal Al Akhdar resort
hotel spa area has a warm and tranquil
feelings with neutral blue toned accent
uplighting.
10,000 ‘Lighting Designers’ as apposed
to the somewhat 700,053 Lighting Design
professionals. Whilst this does not highlight
the Lighting Designers as an insignificant
proportion, it does suggest the services are
being commoditised as a result of an easily
learned skillset for popular design solutions and
trends.
Rosenius moves along to then question
the limbo like position Lighting Designers
have found themselves in. “It is clear that
architectural Lighting Designers exist as
a minority group within the much larger
lighting design activity. It seems to have
adopted a role as educated (or in some cases
simply enthusiastic) consultants rather
than innovators. The technical innovation
is driven by the manufacturing industry and
their consultants; the conceptual innovation
is driven by the ‘outliers’, the artists, VJ’s,
architects, academic research organisations and
the new technology companies,” he explains.
In order to combat these issues, Rosenius
recommends the industry encourage
investment into the research and development
sectors to avoid this commoditisation and
continue to be relevant professionals. He also
observes that Lighting Designers are continuing
to ride along in their bubble of contentedness
whilst manufacturers throw ample amounts
of budget into their own research and
development and support education for
Lighting Designers in order to mould them
into their preferred format to suit themselves.
Rosenius clarifies: “Whilst there is arguably
nothing particularly wrong with this model of
knowledge transfer, it does, however, weaken
the position of the Lighting Designer, when
it comes to innovation. I would even venture
further to say it potentially suffocates creativity
and allows complacency to creep in. If the
Lighting Designer doesn’t need to innovate,
they can simply apply ready-made solutions in
a creative way to suit the project. A process that
goes a little bit like this: Discover – Copy – Paste
– Tweak – Shop for new solutions at a trade
fair – Repeat. Should we as a profession change
focus to remain relevant for years to come?”
The majority of his theory for this can be drawn
from previous lighting projects over the last
twenty years and the trending creative results
produced by these and the consistent amount of
repetitive and predictable processes used.
The future? According to Rosenius, one
of the best resolutions for these issues is
an interdisciplinary approach to running
a lighting design practice. To achieve this
ideal working environment, it is essential
to have collaborators from various working
backgrounds contributing to the lighting design

100 www.arc-magazine.com
 PROFILE
Above Inside a luxury lounge space at the
Tieto HQ in Helsinki. The project uses a lot of
new technology, such as thousands of sensors
and live data visualisation.
Right A corridor area in the Tieto HQ, Helsinki.
Purple colour schemes are used throughout
the space, creating a modern and cool
environment.
Pics: Kuvio
team beyond their own discipline. As an avid promoter of new
and exciting projects that challenge ‘the norm’, he believes the
intersection of different disciplines creates interesting results
and brings new values to a project. “This approach begins to
push the company from a standard consultancy model, where
each skillset is active within its own silo, towards a creative
design company model. There are fantastically successful design
practices that work with the interdisciplinary model such as
IDEO, Fjord, Frog and many others. They offer great inspiration
on how lighting design profession could develop and what the
business models could be,” he states.
When Rosenius originally established Lighting Design Collective,
it was being run as a typical lighting design firm, following as he
puts it, “the Anglo-Saxon model of services and deliverables”.
With the ever growing demand for more complex concepts,
broader skillsets from practitioners and content packages for
media surfaces, LDC evolved into a multi-disciplinary firm. After
six years, UNSTATIC developed as a spin off digital content team
headed by Gorka Cortazar. Think-in-a-Tank was then developed
as part of LDC in collaboration with sociologist Dr Marco Bevolo
and has run annually since 2014. ReVR Studio was the next spin
off to come out of LDC, when the demand for quality lighting
102 www.arc-magazine.com
visualisations and Virtual Reality became higher. In early 2016,
ReVR developed into their own team to continue to collaborate
with leading architectural firms and Lighting Designers creating
integrated design processes.
Moving towards the Digital Paradise that Rosenius refers to in his
research, he explains the movements LDC went through.
“In late 2013, LDC were invited to join a research consortium
bidding for EU Horizon2020 funding under a topic of Connected
Light and Sensing for Smart Spaces. We lost the bid but learnt a
lot and got introduced to the futuristic world of new technology
research run by VTT Technical Research Centre of Finland.
Since then, we have been part of three winning consortiums,
Delphi4LED, DecoChrom and Towards Digital Paradise, most
receiving funding from the Horizon2020 program. The latter one
led us to partner up with a group of professionals to create a new
technology start up, Skandal Technologies, developing systems
for Ambient Communications.” Skandal Technologies also uses
new biomimetic and responsive technologies in lighting control
in built environments.
The idea that humans have a substantial ability to process
ambient and peripheral information that directly affects
emotions and subconscious contextual understanding without
 climar_publ_ARC_path.pdf 1 14/02/2018 17:45:39

CM

MY

CY

CMY

K
 PROFILE
Pic: Luis Diaz Diaz
the need to activate cognitive thought processes is the bases
of innovation for Skandal Technologies, which is currently
developing its Generation 2.0 system.
Rosenius states: “The future of the Lighting Design profession
is precarious. A shift from a consultancy based business model
to an anti-disciplinary design company model could foster
more innovation and gain a new position closer to the edge of
the larger lighting profession. Investment into research and
strong promotion of critical debate should be a central goal of
practice leaders. Our profession should own the process of visual
narrative for our built environment and lead the conceptual
innovation. We should provide application research and inspire
related fields such as new technology companies to follow our
lead. We should design our own tools and set the trends for the
manufacturing industry.
“The figure of the Lighting Designer has become more known
and the field has grown, which is great. I haven’t seen a big shift
in terms of design and creativity, however. Most companies
operating in architectural lighting design appear to be very
confortable with figuring out ‘creative solutions’ rather than
behaving as actual design companies. I make a big distinction
between design and consultancy activities. The latter dominates
the lighting fields and you can see it in the project outcome very
clearly”.
As a starting point, Rosenius believes it is important to
understand and define what value lighting can bring to the
104 www.arc-magazine.com
“If we could change
ourselves, the tendencies
in the world would
also change. As a man
changes his own nature,
so does the attitude
of the world change
towards him. … We need
not wait to see what
others do.”
- Gandhi, extract from PLDC 2017 Anti-Disciplinary
client. However, this in itself comes with difficulties, as Rosenius
noted, many clients struggle to distinguish between the various
specialists in the field, and thus a multitude of services are
provided with a staggering variation in quality. “The value
proposition is often vague, which has led to the drop in fees.
In many markets, Lighting Design is still a cottage industry
trying to find its way,” he observes. “Yet, there is still hope
for young designers about to break into the industry, with
countless opportunities to bring new approaches and desire for
differentiation from the client’s side.”
So, what potential does the future hold?
Rosenius promotes: “Integration of new design tools in software
and hardware will permit designers to develop more complex and
integrated schemes into their designs”. As for LDC, their offices
are growing across their three sites, and they are working hard to
bring their creative message to the forefront of clientele business
with great success. As an independent entity, ReVR is delivering
virtual reality packages for multiple platforms in design and
architecture, and London based UNSTATIC provides independent
digital content services with designers in mind. Currently also
working as the CEO of Skandal Technologies and as a pioneer
in using biomimetic lighting control in built environments,
Rosenius continues to develop systems, visions and technologies
related to this field whilst coaching new generations of lighting
designers through his own design practice mantra.
www.ldcol.com
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106 www.arc-magazine.com Pics: Jesus Granada

PROJECT DETAILS
Inmaculada Concepción Church
Melilla, Spain
Client: IPCE (Instituto del
Patrimonio Cultural de España),
Diócesis de Málaga
Lighting Design: Diseño y
Consultoría de Iluminación (DCI),
Spain
Architect Chacel 8 Arquitectura,
Spain
Blessed by the Light
The Inmaculada Concepción Church in Melilla, Spain, has
undergone another architectural and lighting renovation to
improve the historic structure and bring a spiritual, harmonious
atmosphere for the worshippers. Lighting designer Javier Górriz
and Reggiani stepped in to make this possible.
I
n recent years, the Spanish town
of Melilla, situated on the most
northern point of Africa, has had a
shadow cast over it with struggles
of immigration along the Moroccan border.
But casting a light on the historic town is the
renovation of the Inmaculada Concepción Church.
Suffering severe damage from an earthquake
of 6.3 in magnitude back in January 2016, it was
imperative that restorations went underway as
soon as possible to preserve the ancient building.
Headed by Javier Górriz from Diseño y Consultoría
de Iluminación, the rapid restoration project was
forced to seamlessly blend the lighting design
in with the architectural repairs, ran by Antonio
Fernández from Chacel 8 Arquitectura, in order
to stick to the tight deadlines, all with the help of
Antonio Bravo, a dedicated recovery historian.
The church of Immaculate Conception is a
building of worship and prayer that consists
of multiple tiers of history. The earliest layers
PROJECT
date back to late Gothic times, with uncertain
origins, which archaeologists are still working
on in search of further details. Peeling back more
across the historic timeline, there is evidence of a
Renaissance church that overlaps, and finally turns
into a Baroque church that has continuously been
added to and evolved into the church we see today.
First and foremost, it is important to identify
lighting that will act as a functional balance to
the natural light already present throughout
the structure. In order to fulfil its main purpose
of housing worship, activities and religious
functions for the Church community, careful
thought was put into designing a lighting
scheme suitable for this environment.
Górriz explained the key architectural lighting
considerations that were at the forefront of
the decisions made for the design: “We need
lighting equipment that is as versatile as
possible, so that the same luminaire can adapt
and change to the different needs, (possibly
www.arc-magazine.com 107
 PROJECT

Previous Page Front view of Reggiani

Yori Projectors lighting the main hall
of the church, illuminating the freshly
cleaned stone work.
Left A close up of the spot luminaires
washing the ceiling with bright light to
accentuate the intricate architectural
features unveiled during the
renovations.
Next Page Close up shot of the
beautiful Oris pendant by Lucide
hanging in a side room, creating a
contrast between old and new in a
spiritual setting.

“The lighting design in including different optics, anti-glare louvre, emergency kits,
differing colour temperatures, light intensities and system

this architectural space

controls). The lighting had to be functional, respectful of the
history, emotional, engaging in light and shadow, visually

has been designed from

comfortable and able to capture the whole look of the building.
During the actual renovation process, a series of secrets that were
initially concealed, are revealed and emphasised with light.”

two perspectives to tell Situated in a fortified enclosure in Melilla, it was important for
the designers and architects to work carefully in the delicate

part of the story, one setting. With continuous documentation from beginning to
end, this project was careful to analyse the historical evolution

considering natural light

in order to intelligently integrate the new lighting.
When working with Górriz to formulate a lighting scheme for

and another through

the project, Fernández describes the thought process: “We are
so used to treating light as the element that covers the basic
needs of displacement as something that allows us to complete

artificial light.”
José Antonio Fernández , Chacel 8 Arquitectura
a task, but we should also look at it as the resource that lets
us tell a story that transports the visitor to another era that
attracts attention to the elements we want them to focus on.”
This impressive turnaround from earthquake destruction to dramatic
reconstruction happened in record time. When discussing the
project with Górriz, he enlightened us to the fact that the lighting
design was realised in a breathtaking three months and overall
completion of the renovation was after a staggering six months. With
this tight timeframe naturally came some challenges and obstacles
to overcome. Notably, one of the hardest hurdles the design team
encountered on numerous occasions was the ever-changing canvas
to work upon. Górriz reflected: “The principal problem was working
alongside the architectural restoration and having to integrate a

108 www.arc-magazine.com
 #theilluminationcollective reggiani.net

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110 www.arc-magazine.com
 PROJECT

www.arc-magazine.com 111
 This Page Warm uplighting illuminates the
stone pillars and church nave, creating a warm
and spiritually inviting environment for prayer
and worship. Accent lighting accentuates the
historic architechtural elements with varied
intensities and grazing lighting using a variety
of fittings from Tridonic, Secom, Lluria, Astro
and LineaLight.
Opposite Page Three images demonstrating
the three stages of illumination that can
be controlled and altered depending on
the necessary effects desired for individual
religious events or services.

112 www.arc-magazine.com

“The final result was
quite possibly the best,
because with each new
discovery, the lighting
narration had to fit
the new space. I am
currently so in love with
the work that I would
not change a thing.”
Javier Górriz, Diseño y Consultoría de Iluminación
new system of lighting in a space that isn’t
prepared for it, (we had issues with grooving
and wiring). Every time that you stripped the
plaster, you discovered a new door, or a new
space that was sleeping for a long time that
wasn’t exposed, so we had to emphasise that
with light. In summary, we had to ensure
full respect for the skin of the building.”
Structurally, the team had to work around
issues of channelling pipes for new points
of light, working in tune with the architects
in order to make the most of utilising new
fixtures to their full potential to justify
their existence. Thus, designing a metallic
channel that had a triple function; containing
electrical wiring for luminaires and drivers
without damaging the structure of the church
in a longitudinal setting leading to the nave
whilst at the same time dividing two stages
of construction and highlighting the two
different eras of architecture in the building.
Differing to previous projects he has worked
on, Górriz reflected on the comparisons:
“The main differences are working with the
unknown in the church and the tremendous
PROJECT
speed of the project and the execution of the
work that required a very detailed follow-up
and rapid correction at the same time. An
outstanding feature was the collaboration of
a large multidisciplinary team, headed by the
architect, director of the lighting work and even
down to the smallest contributor of the team.”
Using fittings primarily from Reggiani, the
team were able to create this emotive response
to the historic building with great effect.
Warm colour temperatures reaching 3000K, lighting specified
the LED Yori Surface adjustable projector in
Astro Lugo 0411 Wall Lights
different power versions (10W, 22W and 30W)
Linealight Beret Uplight
were used with anti-glare along with recessed
Lluria SIDE 14,4 Angle flexible LED
fixtures along with the Yori Channel Arm. system for side lighting
The flexibility of the fittings ensured a user- Lucide Oris Pendant luminaire
friendly experience and an overall modern versions, Oris
design. It was important to the overall impact Reggiani Yori Channel Arm,
to not use indiscriminate flood lighting, but Adjustable Projector
create an atmosphere of peace and welbeing Reggiani Yori Surface Adjustable
Projector (10W/22W/30W)
throughout, making it a comfortable and
Reggiani Re Low LED, fixed solid
welcoming space for worshippers.
brass recessed luminaire
www.d-ci.es Secom Protek Dali Secom Projector
www.chacel8.com Tridonic Ilumarte LED Strip
Tridonic Perfil lineal LED strip
www.arc-magazine.com 113
 PROJECT DETAILS
Canadian Museum of History, Quebec, Canada
Client: Canadian Museum of History
Lighting Design: Lightemotion, Canada
Exhibition Design: GSM Project, Canada
Architect: Moriyama & Teshima Architects, Canada;
Douglas Cardinal Architects, Canada

114 www.arc-magazine.com
 PROJECT

Oh, Canada
The Canadian Museum of History has a new lighting design
scheme, thanks to Lightemotion, who wanted to create a
visual narrative telling the story of Canada, while highlighting
the architecture of the building.

Pics: Gordon King

www.arc-magazine.com 115
 PROJECT
T
he Canadian Museum of History,
located in Gatineau, Quebec, is the
most visited museum in Canada,
welcoming more than 1.2 million
visitors each year.
With roots dating back to 1856, it’s one of the
country’s oldest public institutions and a respected
centre of museological excellence, sharing its
expertise in history, archaeology, ethnology and
cultural studies both within Canada and abroad.
With roughly 25,000sqm of exhibition space spread
across four floors, the lighting design needed to be
just right, in order to showcase the more than
200,000 artefacts on display.
To create a new lighting scheme for the museum,
Montreal-based GSM Project – a group that
specialises in the design and production of thematic
installations and exhibitions – brought in
Lightemotion, who through a combination of
museum and architectural lighting, highlighted the
work of architect Douglas Cardinal, while
showcasing the museum’s history.
François Roupinian, President of Lightemotion, said
that the goal for the new lighting design was: “to
create a visual narrative with the lighting that would
take the visitors throughout the different galleries
that tells the story of Canada. The light should act as
a magic wand, directing the viewer’s attention to
key areas.”
To accomplish such a feat with a maximum spectrum
of effects, the team at Lightemotion used more than
40 kinds of light fixtures. From theatrical floodlights
116 www.arc-magazine.com
to gobo projectors from ETC and miniature LED
heads from the likes of iGuzzini and Sistemalux for
subtly illuminating even the smallest details of the
displays, all equipment used throughout the
museum was carefully studied and adjusted in order
to create a unique path of light.
Roupinian continued: “Flexibility is important for
creating the right lighting.” As such, nothing was
left to chance, with features including
interchangeable lenses, zoom, anti-glare
accessories, an integrated potentiometer to adjust
the lighting level for conservation needs and
ambience, and the option to add colour filters.
Because of this, the lighting manufacturers for the
project were chosen with particular care so that a
wide range of choices would be available to ensure
colour consistency.
Beyond the myriad of fixtures required, a project
such as this comes with its own set of challenges;
the first being the use of LED technology to recreate
the warmth and subtlety of halogen, as LEDs are
often too bright for the more subtle needs of a
museum, as Roupinian explained: “The use of LED in
a museum with thematic environments is not easy.
Manufacturers want to produce very high lumen
output luminaires but the choice and quality of Previous page Through indirect
optics is not always available. lighting, Lightemotion was able
to make the large, dome-shaped
“Also, in a museum we need control of the light and ceiling the centrepiece of the
museum’s ecosystem.
spills, and a good quality beam. We do not Above Lightemotion worked
with GSM Project to design a
necessarily need a lot of light output, especially mounting system for the exhibit
when you illuminate objects at 50 or 100 lux. installations where the lighting
could be positioned within a
“The problem then comes though, that even when minimal track system.
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118 www.arc-magazine.com
 PROJECT

www.arc-magazine.com 119
 PROJECT

“The light should act as you have fixture equipment with integral dimmers, when the light is
dimmed on an artefact, the LED lights become greyer.”

a magic wand, directing

Roupinian and his team countered this though by working closely
with different manufacturers, such as ETC, iGuzzini and Sistemalux,

the viewer’s attention

that could produce fixtures with good quality optics that would give
less spill and residual lighting.
“Also, to counter the greyish colour that certain luminaires would

to key areas.”
François Roupinian, President, Lightemotion
produce through dimming, because of the lux level requirements, we
used filters to correct the tonality of the light,” he explained.
Another important element to take into account was that certain
fragile artefacts are sensitive to heat. When fine-tuning the lighting,
Lightemotion worked closely with the museum’s conservation team
to provide consistent and suitable lighting, carrying out tests that
include thermal models to ensure optimal conservation conditions
for the artefacts.
But one of the biggest challenges, Roupinian explained, was ensuring
a consistent feel throughout the museum: “The one great challenge
was keeping the same design aesthetic, quality and control of the
light in a situation where we had different ceiling heights, different
mounting possibilities and in some areas, we didn’t actually have any
ceiling or lighting positions to hang the fixtures.”
This was evident in the case of the museum’s main, emblematic
dome. Acting as a visual reference point throughout most of the
museum pathway, the dome is an immense structure, but it’s shape
made it impossible to install lighting. However, the team at
Lightemotion employed a special approach: “We wanted to use this
constraint as an advantage,” said Roupinian.
“That’s where we got the idea to use the dome to create light with
indirect lighting. We wanted to make it the centrepiece of the
museum’s ecosystem.”

120 www.arc-magazine.com
122 www.arc-magazine.com
 PROJECT

“Our goal was to

illuminate this beautiful
space architecturally,
but at the same time
design a lighting system
that would serve the
artistic and narrative
purposes of the exhibit.”
François Roupinian, Lightemotion

“So we carefully tested many tonalities to
illuminate the dome to create a great ambience,
while using indirect lighting within the space,” he
continued. “We also designed, with GSM, a
mounting system for the exhibit installations
where we could have lighting positioned within a
minimal track system.”
Following these colour tests, the team was able to
create their desired effect: a timeless tone for a
sensibilities in lighting design both in the exhibit
lighting and in the architectural lighting. Both
have to be in symbiosis, without upstaging each
other. This was a great challenge for us, and we feel
very fortunate to have had the opportunity to work
with such a great client and talented exhibit
designers and architects.”
As such, Roupinian is very pleased with the end
result, and he believes that their work in the
Left A custom mounting system,
designed by Lightemotion with
GSM, allows for ETC’s Source Four
projectors to be positioned within
a minimal track system.
Above Adjustable spotlights from
iGuzzini and Sistemalux illuminate
individual exhibits, while the use
of LED technology means that it
is possible to have good control
and a high quality of lighting
throughout the museum.

comfortable atmosphere, where visitors feel as if
they have stepped into the museum’s very own
world. “Our goal was to illuminate this beautiful
space architecturally, but at the same time design a
lighting system that would serve the artistic and
narrative purposes of the exhibit,” explained
Roupinian.
“The light ultimately needs to tell a story. The
visitors shouldn’t have to be aware of the technical
feats behind the scenes, the lighting should create
a complete sensory experience.”
The Canadian Museum of History isn’t the first
project of this sort that Lightemotion has worked
on, having built up an extensive portfolio of
museum projects over its 16-year history from as
far afield as China, Italy, New Zealand, Singapore,
and its home nation of Canada. However,
Roupinian believes that this time around, it offered
up a different challenge than usual.
“It is quite a different museum project compared
to the others that we have done in the past,” he
explained. “We normally design lighting for
exhibits that are very immersive, and where the
architecture is not very present, or at least is not
placed in the forefront.
“But in this project, we were able to apply our
lighting design could lead to new avenues for LED
in the world of museum lighting. “This is a new
benchmark for uses of LED systems in museums,
where it is possible to have good control and a high
quality of lighting, like we were able to have in the
past with halogen technology,” he said.
“I am currently working with different
manufacturers in designing fixtures that would be
more suited for museum lighting. We often use the
same type of fixtures for retail and museum
lighting, which I don’t think is a long-term
solution. The industry has to adapt to the needs of
lighting in museums, that is mostly driven by the
control of lux levels on artefacts.”
This work, Roupinian feels, serves to add to the
success of the project: “I honestly feel that we were
able to bring the lighting to its maximum potential lighting specified
with the technologies available when we designed ETC Source Four Mini LED
the project,” he exclaimed. ETC Source Four with
“We are very happy with the result, and so are our replacement module
Global track Tek 2
clients. The lighting tells a story and guides the
iGuzzini Palco Medium
spectator throughout the different galleries.
iGuzzini Palco Small
“I think the lighting helps to make a connection, Lighting Services Inc. BPL
keeping the visitors connected to the space and the Series LED
artefacts that tell the story of Canada.” Sistemalux Faretto Large
www.lightemotion.ca Sistemalux Faretto Small

www.arc-magazine.com 123
JAC Studios (L-R): Miroslav Mikica Veljic, Peter Bullough, Olga Sigthorsdottir,
Anders Laustsen, Susanne Eeg and Johan Carlsson
Pic: Stephen Dupont

124 www.arc-magazine.com
 INTERVIEW

JAC of all Trades

Following their impressive work
on the Wadden Sea Centre, arc’s
Matt Waring caught up with
Danish architects JAC Studios to
discuss its design philosophy,
and the role that light plays in
its work.

S
candinavia is a region well regarded for its
approach to design, and not just in the world
of flat-packed furniture; with its sparse,
minimalist aesthetic complementing the
vastness of the landscape. In the architectural
sphere, JAC Studios has brought this approach
to its work, designing exhibition spaces and
residential projects that exist in harmony with their surroundings.
Founded by Johan Carlsson in 2009, JAC Studios was established, in
his words, “as a response to find a balance between, or a framework
from where to explore spatial interventions and storytelling from
both a practical and propositional perspective”.
After opening an art space, working with performance and
exhibitions in the international art scene and working within the
field of ‘temporary interventions’ for eight years, Carlsson was
invited to design an exhibition about the Danish situationist artist
Asger Jorn, something that he believes was a ‘generator’ for him
setting up his own studio.
Now, JAC Studios is an architecture and design practice that explores
“both the practical and the theoretical, aiming for results that are
innovative, high quality and socially relevant.”
This is realised by utilising a philosophy that looks at the wider
contextual setting surrounding each project, regardless of scale.
This was evident in their work on the darc awards / architectural
shortlisted Wadden Sea Centre, and can be seen across the studio’s
portfolio too.
“JAC Studios believe in contextual interventions, where the narrative
or the thematic story is communicated through a one-off design,
composed of investigations in movement, the specific room, the
scenic setting, light, sound and furniture,” Carlsson explained.
“Projects should address the social, spatial and sustainable issues

www.arc-magazine.com 125
 Interview
“Clever manipulation of
light can create moods
that form the essential
experience when
visiting a gallery.”
Johan Carlsson, JAC Studios
126 www.arc-magazine.com
Danish Wars at the Royal Danish Armoury Museum Pic: Karina Tengberg
and are developed physically and conceptually in parallel. This approach
focuses on a deep understanding of how things are made with emphasis
on hand-craft and production.”
Because each project must interact with their wider contextual setting,
it’s hard for Carlsson to define what JAC Studios’ ‘signature style’ is.
Instead, he said, they “always aim to focus on spatial experiences, an
approach where the performative aspect of body and space creates the
dynamics”.
Since its inception, JAC Studios, comprised of a team of architects,
designers and artists, has developed a more specific focus on interior
architecture, and predominantly exhibition design, working on
internationally renowned projects such as the Yumin Art Nouveau
Collection in South Korea, and House of Sweden in Washington D.C.,
as well as UNESCO world heritage sites such as the Icefjord Centre in
Greenland, and the aforementioned Wadden Sea Centre in Denmark.
Alongside this, the studio has developed a focus on private sector work,
completing a series of small-scale residential projects, such as the
widely published Sturlasgade apartment in Copenhagen.
The core aspect to developing each project, Carlsson explained, is
rooted in context, relationship to the site, history, user preferences and
ambitions. “This is coupled with respect and sensitivity for the existing,
valued ethics and aesthetics,” he said.
However, the studio is selective when it comes to what projects they
take on and bid for, as Carlsson elaborated: “Our preference always
begins with context and content: in the case of exhibitions, this is
often the artefact or object linked to a specific theme. We favour a no-
nonsense exhibition, where the artefact is the main actor.
“We believe that the combination of scenography and architecture
provide a base for alternative thinking, which results in communicative
spaces evaluated by storytelling, aesthetics, materiality, sustainability
and user participation.”
The Wadden Sea Centre Pic: James Medcraft

128 www.arc-magazine.com
 INTERVIEW

“We believe that architecture

should work as a social and
communicative stage.”
Johan Carlsson

www.arc-magazine.com 129
 interview
Pic: Peter Bullough
Throughout the design and implementation
process, JAC Studios place a great deal of care and
attention on maintaining good relations with the
client. Stating that the client is always “an integral
aspect on the work”, Carlsson explained that
they always focus on “developing a good working
relationship through hands-on workshops that
help to establish a collaborative approach within
the team”.
Alongside its work in the practice of architecture,
design and realisation, JAC Studios believe in the
importance of sharing knowledge and information,
and they achieve this through their Residency and
Salon programmes. “We believe that architecture
plays a major role in contributing to debates and
dialogue, and that architecture should work as a
social and communicative stage,” said Carlsson.
As such, the studio is comprised of two key
aspects: one, as Carlsson explained, is “rooted
in the practice of architecture, design and
realisation”, while the second is “focused in
sharing knowledge through the staging of events,
‘salons’ and gatherings that address a critical
approach to the wider field of architecture”. JAC
also, through its Residency programme, invite
other practitioners from diverse practices into the
130 www.arc-magazine.com
Pic: Jeongyoun Hong
Far Left An installation for
Copenhagen Ceramics, created
for Milan Design Week 2016.
Above The Peak Gallery at the
Yumin Art Nouveau Collection,
South Korea.
Left The Digital Ornithology
sequence, developed with Jason
Bruges Studio for the Wadden
Sea Centre, Denmark.
Pic: James Medcraft
studio.
This quest for a constant dialogue, and the studio’s
self-proclaimed ambition to ‘embrace the sphere
between architecture and art’, has seen JAC bring
in collaborators “in the form of writers, scientists,
filmmakers and artists that help add a depth and
integrity” to each project. By working with these
collaborators, JAC believe that they can find the
“balance between the rational and the poetic” in
their work.
Such collaboration was none more evident than
in the Wadden Sea Centre project. As JAC Studios
acted as a general contractor on the project, as well
as the lead designers, they were able to gather a
team with unique specialties and skills that formed
the design approach and exhibition aesthetic.
As such, they teamed up with fellow Danes and
lighting designers fortheloveoflight, while also
working with Jason Bruges Studio and No Parking
to create a serene exhibition space that matches
JAC’s primary ambition and sits in perfect
harmony with the surrounding landscape.
“Good design should relate but not necessarily
mimic, copy or respond seamlessly with
landscape,” said Carlsson. “There should be a
critical response that is formed through analysis
Mondo_FebMar18.indd 1 12/02/2018 11:23
132 www.arc-magazine.com
 INTERVIEW

Danish Wars at the Royal Danish Armoury Museum Pic: Karina Tengberg

www.arc-magazine.com 133
 Pic: Karina Tengberg

and perception of each unique landscape and architectural setting.

“The landscape in the Wadden Sea is truly exceptional and was a core
inspiration throughout the project. The site is in constant motion in
the area, tides and migratory birds follow their own rhythms and we
felt the exhibition should respond to this.”
It wasn’t the first time that JAC worked with fortheloveoflight – the
two practices share a studio space, and as such, Carlsson revealed
that he and Nikolaj Birkelund, founder of fortheloveoflight, work
closely together on the majority of projects that they have in the
studio.
JAC and fortheloveoflight also created a bespoke light fixture
together for the Wadden Sea Centre. Working alongside Mike Stoane
Lighting, they designed and developed the BBx.70 ‘Birdbeamer’
fittings.
“We developed the BBx.70 from concept and design to realisation
through a series of physical 1:1 mock-ups and testing both in the
studio and on-site,” said Carlsson. “With the excellent help of Mike
Stoane, we were able to produce bespoke fittings that offered a
uniqueness and high quality to the lighting units and interfaces.”
Further to this, JAC has developed modular furniture for the House
of Sweden, crafting a thin wooden structure with integrated lights
but no cords. “To reach this, a low voltage system was developed and
implemented into the magnetics that keep the modules together,”
explained Carlsson.
This all ties into Carlsson’s belief that, in order to create an effective
exhibition space, teaming up with lighting designers should be a top
Pic: Yoonsung Choi
priority. “When developing design aspects such as display cases it is

134 www.arc-magazine.com

“Lighting is and will
always be one of the core
instruments in spatial
design, the rapid pace
of innovations within
lighting opens up for new
ways of how to integrate
the light, but also what
functions the light can
perform in a space.”
Johan Carlsson
essential to work closely with a lighting designer
to form the project approach, materiality and
principal dimensioning,” he said.
“We often work with priceless and rare objects, so
a skilled command of lux levels and illumination
is fundamental to our projects as well as creating a
suitable environment for the selected objects.”
This need for skilled expertise in lighting means
that Carlsson understands the importance of
working with lighting designers, as he believes
that “lighting design is one of the most essential
aspects in our projects, particularly within
exhibitions”.
“Clever manipulation of light can create moods
that form the essential experience when visiting
a gallery,” he said. “As such, natural and artificial
light should complement each other and work
together to form an overall theme and aesthetic.
“When we generate a project, we set up a team
from the very beginning, which includes a lighting
designer. Since many of our designs are developed
and custom-made, it is a must that all aspects that
would affect the design or the way the design is
seen are with us through the full process.”
Carlsson’s close working relationship with
Birkelund at fortheloveoflight has given him a
strong understanding of just how light can impact
on a space: “Lighting is and will always be one of
INTERVIEW
Pic: Anna Linderstam
Pic: Jeongyoun Hong
the core instruments in spatial design, the rapid Far left top JAC Studios’ residential
work for a project in Sturlasgade,
pace of innovations within lighting opens up for Copenhagen.
Far left bottom The Lounge
new ways of how to integrate the light, but also exhibition at the Yumin Art
what functions the light can perform in a space,” Nouveau Collection,
South Korea.
he said. “Functions that sometimes go beyond Top The Vasa Museum,
Stockholm, Sweden.
providing light, but also control the environment Above The Masterpiece Gallery at
the Yumin Art Nouveau Collection,
and the performance of the space.” South Korea.
Because of this, and Carlsson’s experience of
developing lighting fixtures, he explained that
lighting “will take an even more prominent role in
the practice”.
“It is exciting to develop bespoke systems that
utilise the latest technology with mock-ups and
rigorous tests in-house, further challenging the
meeting between technology, craft and innovative
solutions. That said, we strongly believe in
specialists and we will continue to collaborate with
lighting designers.”
All of this means that for JAC Studios, the future
looks bright, and Carlsson agrees, adding that he
hopes to use the studio’s experiences to continue
developing, and push on to new frontiers.
“We hope that the future will allow us to continue
exploring and to create designs and experiences
that make us reflect, question the ordinary and
create new conditions.”
www.jacstudios.dk
www.arc-magazine.com 135
First Class
The new First Wing at Heathrow’s Terminal 5 provides a serene,
luxurious setting for first class passengers to be screened
away from the hustle and bustle of the main terminal building.
StudioFractal, alongside architects Pascall & Watson, provided the
lighting design for this sophisticated security portal.

Pics: James Newton

136 www.arc-magazine.com
 PROJECT

PROJECT DETAILS
First Direct Access,
Heathrow Airport, London, UK
Client: Heathrow Airports Limited
Lighting Design: StudioFractal, UK
Architect: Pascall & Watson, UK
Contractor: MACE, UK

www.arc-magazine.com 137
 PROJECT
W
hen traveling first class, it is
reasonable for one to expect a certain
element of luxury – a high-end level
of sophistication that sets the
experience apart from standard class.
Such an experience is exemplified in the new First
Wing at Heathrow’s Terminal 5. Now open for
business, it enables esteemed passengers to
proceed from landside to the First Class Lounges in
under five minutes.
Lighting designer practice StudioFractal was
invited to join the design team, working alongside
architects Pascall & Watson and contractor MACE
to create an atmospheric, luxury security portal,
befitting a first class experience.
It’s not the first time that StudioFractal has
worked at Heathrow Airport; indeed, Ian Payne,
Design Director at StudioFractal and lead designer
on the project, boasts of a “long and industrious
affiliation” with Heathrow Airports Limited,
having brought many of their major undertakings
to fruition, including the multi-award winning T2
terminal.
“It has been a real delight collaborating with
numerous innovative partners, from architects to
artists,” he said. “It’s that long-standing
relationship that led us to the appointment by
138 www.arc-magazine.com
MACE and collaborations with Pascall & Watson.”
Alongside MACE and Pascall & Watson,
StudioFractal worked meticulously to develop
designs within the challenging project deadlines,
with a brief to create a security portal that fit
seamlessly within the high quality framework of
the existing Terminal 5 concourse, while also
creating a high-class, premium experience for the
First Class British Airways passengers. The scope
for this design included all lighting components,
along with the development of a feature wall.
The definitive solution for the feature wall includes
sections of slanting perforated metal, with back
and front lighting, in this case LED Linear’s
VarioLED Flex. Rhythms of timber sit between each
panel, illuminated from the edges with warm white
light, emphasising the rich tones of the wood. A
specification of warm lighting was implemented in
pursuance of enhancing the rich and luxuriant
materials palette.
StudioFractal took Heathrow’s initial client
aspirations and explored materials, texture,
pattern, movement, tone and integrated lighting
solutions to give the space levels of quality and
tone more akin to a luxury hotel lobby than that of
an airport.
This aesthetic wasn’t easy to achieve, according to
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140 www.arc-magazine.com
 PROJECT

www.arc-magazine.com 141
 PROJECT
“To maintain a premium
feel it was important to
integrate the lighting
within the architectural
framework.”
Ian Payne, StudioFractal
142 www.arc-magazine.com
Previous page The new lighting scheme from
StudioFractal creates a warm, welcoming
environment for passengers.
Left and below Recessed lighting from LED
Linear adds a soft glow to fixtures throughout
the portal, enhancing the rich palette that both
StudioFractal and Pascall & Watson sought.
Payne. “Airport security zones are inherently functional spaces
where lighting must fulfil security objectives and facilitate the
observation of passengers and luggage.
“To move away from a clinical environment and into a sophisticated
ambience we developed a strong ‘material and texture palette’
alongside Pascall & Watson, to ensure materials would respond well
to a variety of lighting techniques.
“To maintain a premium feel it was important to integrate the
lighting within the architectural framework, we developed a number
of simple lighting details to allow key materials to be illuminated
from concealed lighting sources.”
Elsewhere, low-level illumination achieves a more intimate
ambiance, in direct contrast to the high level treatments utilised
throughout the rest of the terminal. This was perfected by clever
integration of the lighting into the furniture and cladding details,
and by developing sculptural wall-mounted elements that express
the same material palette used throughout the space. This was partly
due to the constraints of working within the terminal building’s
existing framework as lighting needed to be coordinated amongst
existing structural beams and proposed perimeter balustrades.
However, StudioFractal was able to develop a curved LED luminaire
head with lighting from Kemps Architectural Lighting, mounted to
the feature wall and to custom-made poles on the perimeter of the
security zone. This served to provide the ambient lighting levels that
they were looking for.
All luminaires and feature wall components required stringent DFT
Aviation Security in Airport Development (ASIAD) compliance, and
were specified through the airport’s second tier lighting suppliers.
However, as Payne explained: “StudioFractal worked with Heathrow
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144 www.arc-magazine.com

“A successful design
is not just about
how an environment
presents itself
but how you feel
amongst it.”
Ian Payne, StudioFractal
to ensure the challenges of designing within an
aviation environment did not encroach on the
sophistication of the finished first class portal.”
As such, the lighting designers explored a number
of solutions in order to ensure that they achieved
the right balance of form over function, safety over
client experience – a constant challenge in an
environment like this.
However, throughout its portfolio, StudioFractal
has an extensive aviation experience, having
worked on airports both in the UK and abroad,
developing projects for the likes of Gatwick,
Stansted, Dublin, Abu Dhabi, Vienna, Gabon,
Riyadh and Indira Ghandi International Airport.
The firm’s work on Heathrow’s Terminal 2A even
saw them claim Public Project of the Year at the
Lighting Design Awards in 2015.
This experience and prior knowledge no doubt
served StudioFractal well throughout the new
project at Heathrow. “Aviation projects naturally
lean heavily towards highly engineered solutions,
safety, sustainability and longevity, focusing on
defining character and wayfinding,” said Payne.
“Whilst those things factored heavily in the First
Direct Access, we had the added complexities of
designing a luxury environment displaying warmth
and elegance amongst the bright, expansive
Terminal 5.”
Despite these complexities though, StudioFractal,
alongside Pascall & Watson, have created a warm,
relaxing, luxurious space for first class passengers.
And Payne believes that the collaboration between
the client, Pascall & Watson, and StudioFractal,
immensely helped in reaching such a successful
outcome. “It’s of upmost importance to develop a
PROJECT
clearly defined concept and strategy from the Left StudioFractal developed a curved
LED luminaire head, with lighting from
offset, with the client and the design team,” he Kemps Architectural Lighting, that was
mounted to custom-made poles on
said. “Though we’re obviously very proud of the the perimeter of the security zone.
project, we always measure our success in terms of Above The feature wall includes
sections of slanting perforated metal
feedback and we’ve had exceptional responses with front and back lighting from LED
Linear’s VarioLED Flex. This illuminates
from users of the new area, the Heathrow client the edges with a warm white light,
emphasising the rich tones of the
and the design team.” wood cladding.
Some such feedback came from Nitesh Naidoo,
Project Director at Pascall & Watson, who said:
“StudioFractal has been a valued, skilful and
effective collaborator on the T5 BA First Wing
project. Their input during the design phases has
helped us realise a groundbreaking addition to the
luxury facilities provided at Heathrow Airport.
“The StudioFractal team has been instrumental in
the design and realisation of the feature lighting
concept for the premium search facility.”
But while there has been plenty of praise for the
design of the new facility, Payne believes that for a
project to be a true success, it needs to stir
emotions in its visitors.
“A successful design is not just about how an
environment presents itself but how you feel
amongst it,” he said. “The union of light and
materials sets a sophisticated tone for the first
class route, your focus is drawn to the human level,
not to the vast space in which it sits.
“The contrast between cool and warm lighting
adds to the experience of moving from a busy light
terminal into the serene luxury zone. Through
connecting small visual details to the main
terminal the First Wing sits comfortably within it,
yet it offers its own superlative experience.” lighting specified
www.studiofractal.co.uk Kemps bespoke LED lanterns
LED Linear VarioLED Flex
www.arc-magazine.com 145
No Place Light Home
Ian Clarke, Associate

D
at dpa lighting
esigning the lighting for a home is a great
privilege, responsibility and opportunity.
When developed in a sensitive way with a level

consultants, takes
of understanding for the client’s needs and
likes the lighting of a residential property can
really touch people, totally changing how they

a closer look at the

experience and enjoy their own home.
It is very important that you listen to your client whenever you have
opportunity to meet with them. Learn as much as you can about what

special thought
they expect, how they think the lighting should work and help them,
their aspirations and ideas are important and should strongly lead
how a scheme is developed. We are designing for people in their own

process that comes private homes and it is critical that we know how best to deliver a
scheme to meet their needs.
The most successful lighting schemes are born out of good

with designing relationships where you get to know the homeowners’ ambitions for
their home, how they use the spaces, what they like and how they

lighting for a
entertain or relax. It really helps to understand as much as possible as
it is often the smaller details which people really connect to. Gaining
this knowledge about the home or particular interests of the owners

residential property.
all provides information which can feed into the development and
design of your lighting proposals. It is vital to explore all possible
opportunities to make each scheme unique and special.
Most modern homes are hard working spaces and as such they must
satisfy many functions. The lighting must therefore work hard in
response to these varied requirements. Bright, fresh and functional is
often the desired approach by day with an appropriate level of light where
it is needed to support the available daylight within the home. Achieving
this through a handful of lighting techniques will create an interesting
and multi layered scheme. It is discovering the best ways to engage with
and enliven these spaces with lighting which makes the difference.
Homes are also personal and private spaces where, as always, lighting
can support and enhance this through selective measures and
therefore plays a role in reflecting the character of those who live
there. A special chair, a fabulous architectural feature within the home
or a simple group of family photos can be as personal and beautiful an
object as is required which, when illuminated gently offers a relevance
and quality unique to that space alone. Artwork lighting provides
brightness to the vertical which is extremely valuable as a lighting
technique while also adding character through the very personal
nature of the artwork itself, selected and loved by the owner.
The lighting design for homes needs to be about heart and soul.
Everything about designing for residential projects is personal. For
most of us, home should be welcoming, comforting and safe. Carefully
considered lighting can enhance these feelings during the evening.
We can encourage conversation, make guests feel comfortable and put
people at ease through good lighting.
Using a selection of decorative floor or table lamps around a seating
group or lounge area is a well proven way of building a comfortable
atmosphere when combined with high quality lamps, a lovely warm
colour temperature and well coordinated dimming. Suspended
pendant lighting over dining tables puts light just where it is needed
and offers opportunity for further expression of style and taste
through the type of light selected.
With the advances in LED technology over recent years, we can now
implement lighting in new ways. The development of miniature
lighting equipment has opened opportunity for integration within
architectural or furniture details for example, where the light
source can be totally concealed thus eliminating the risk of glare
Ian Clarke, Associate at
dpa lighting consultants and avoiding the introduction of visual clutter within the space. The

146 www.arc-magazine.com
 Residential lighting

Pics: Matt Livey

dpa lighting was appointed to develop the lighting to this beautiful home and landscape within a greenbelt location in Oxfordshire. With architecture by Waind Gohil & Potter and landscaping by
Angus Thompson Design, the strong modern scheme led to an appropriately considered and carefully coordinated series of lighting proposals. Lighting was integrated within joinery details, positioned
discreetly and selected with minimal visual intrusion as a priority. This approach allowed the interior volumes and architectural rhythm to be exposed in the evenings. It was very important to ensure a
softness was brought to the home through decorative lighting at low level and gentle highlights to artworks, making this a very comfortable environment for the family. Lighting to the landscape includes
decorative wall lanterns around the property, with spike-mounted luminaires along routes and providing highlight to key planting elements. The nature of the lighting to the exterior was purposefully low
key and respectful of the rural position whilst gently leading out to amazing lakeside views.

technical improvements in colour rendering and optical control allow
the use of the latest equipment in the home to dramatic effect whilst
providing good usable light.
We are all extremely familiar with our own homes and can navigate
safely at night time with very little or no light at all through
familiarity. We therefore, require very little in the way of additional
lighting to get around, but recognising this allows opportunity to focus
efforts on enhancements to the architecture and interiors. Through
these lighting interventions we can create safe passage for the
occupants through interesting and diverse lighting opportunities. A
well placed artwork with a soft brush of light may illuminate a landing
or route perfectly well. Focal points can be used to guide you along
your path in a distinctive way.
It is not just the colour temperature which helps a space feel inviting
but also the balance of lighting within the space. Along with a well
considered and varied lighting scheme this balance can be achieved
using a lighting control system to allow dimming via an appropriately
scaled architectural lighting control system. Whilst there are many
benefits to the use of a system like this it is important that the lighting
control is absolutely instinctive to use.
The most tech-savvy household is likely to still become frustrated
when a system is confusing or counter-intuitive. However, the
latest development of mobile apps from a number of lighting control
manufacturers provides a really great level of interactivity. With
access to individual scenes, channels and elements within an overall
scheme the client can continue to refine and tailor the lighting
conditions to their own taste and preference as they live with the
scheme. This advance in control and promotion of user interaction
also provides opportunity to refine and revise the lighting control as
the interiors change or client preferences alter.
Architectural elements of interest are great tools when it comes
to providing visual structure in a space, defining the character and
rhythm of the building. When sensitively picked up with light these
can reveal an interior volume in a completely different way during the
evening and present the home in a way far removed from its everyday
function. The ability for light to transform a space offering variety
and an element of theatre or drama is as relevant in our homes as in
any project and arguably more sensitive due to our wholly personal
attachment to our homes.
With many homes and extensions often being designed with large
expanses of glazing at ground level, the lighting of exterior spaces has
never been so important. When a home is fortunate enough to benefit
from a lovely garden or other interesting outdoor spaces, I would
encourage the introduction of lighting the outdoors.
When it comes to gardens and landscapes, I believe a little light goes
a long way. If the local lighting competition is low, such as a typical
rural area where the sky gets truly dark, then only a very delicate touch
of light to the landscape is needed depending on the scale. Garden
lighting is often used to create a backdrop to a terrace or dining area,
and similar to the interior, I believe careful selection of a handful of
key points of focus works well.
Light used to pick out a specimen tree, coloured foliage or water
feature provides interest and movement as well as extending the
view into the outside. Good quality, robust product is key to reducing
maintenance and avoiding trouble when considering lighting outside.
As with all projects, a good design team working together with a
common goal makes the whole process so much easier. Architectural
and landscaping teams help to structure the bones and skeleton of
the project and, of course, an early introduction to the project allows
the infrastructure and coordination of the lighting elements to be
seamlessly knitted into the fabric of the building.
As lighting designers today we have all the necessary tools available
to us to create stunning homes with a generous warmth and quality
that we all react to positively. All we need to do is tailor our solutions
as closely to the aspiration and dreams of the family as possible.
The results should be special, well crafted and bespoke but most
importantly, as this is all about people, create a very happy client.
www.dpalighting.com

www.arc-magazine.com 147
 Take Shelter
A large renovation project set out to transform an area of abandoned military
land, known as the Bungenäs, on the northern tip of Gotland in the Baltic Sea.
Here, we get an insight into what life looks like underground.

N
estled away in the cold wilderness of
Sweden is Bungenäs on a peninsula in
the far north-east side of the island,
Gotland. During the winter months,
this part of the world experiences little daylight. A
barren landscape, this part of Sweden is home to a
small, freethinking, population that has banned any
motor vehicles past the old military checkpoint fence.
Previously, it was an abandoned limestone quarry
that was once a strategically located and prized piece
of land for the military. Over time, this land was
deserted and left derelict.
An ambitious development team decided to undertake
this mammoth project in 2007 to transform the area
into luxury high-end residential plots. Specifically,
this particular bunker turned out to be the most
challenging but also most successful project for the
architectural firm Skälsö Arkitekter.
The unconventional foundations for this build lay
upon a bed of earth where the three-storey structure
was dug into. Pointing east (toward the enemy), is
a large turret, mounted on the top of the sunken
building. The plan for the renovation was to develop
upon the existing structure to include a spa area,
bedrooms, a dining area and entertainment space. In
addition, new architectural elements were integrated
to make room for additional living spaces spread over
a further two levels that emerged partially or fully
above ground. A further two buildings were added to
include additional bedrooms, a kitchen and a garage.
The entirely custom-made design (aside from the
toilets), demanded a huge amount of attention to
detail through textures and colours. The materials
used for the structure simply consisted of concrete,
wood and steel all combined with a colour palette of
grey, orange, silver and black.
For the lighting scheme, the brief was to create
something ‘cold and welcoming’; a somewhat
unconventional desire for a residential space. In
keeping with the unique past of the building, lighting
designer James Anderson with his lighting design
firm, Fluidic Design, were brought in to re-create
the atmosphere of a military bunker using light
sparingly, for both utility and elegance. Furthermore,

148 www.arc-magazine.com

he wanted to create a feeling of luxury and stark
beauty throughout the residence. A custom
woolen chandelier and custom wall light designs
throughout the building came from Fluidic Design,
whilst other manufacturers were used for a variety
of functional installations, such as downlights by
TAL and Soraa.
With function and beauty coming hand in
hand, it was important for the designer to be
specific with their fixtures and their functions.
Throughout the house, the lighting is controllable
through dimming, while each room has its own
composition with pre-programmed levels at the
touch of a button.
Fluidic Design encountered multiple challenges
throughout the duration of this project, for
example lighting a three-storey staircase with
one single luminaire. The majority of the kitchen
illumination came through a large glass floor that
gave the room that ‘wow’ factor that was requested
by the client.
It was also important for the space to feel
natural and comfortable soon after the initial
impact because, at the end of the day, it is still a
functioning home. This fine balance was achieved
through the flawless lighting design and its
fixtures by Mike Stoane Lighting that moulded
seamlessly into Skälsö Arkitekter’s concept.
Accent lighting was brought in by iLED to create
contrasting light and shadow effects and linears
by Rigbag and Lumino. Architect Erik Gardell
described the initial aim and results achieved by
Skälsö Arkitekter: “We didn’t want easily gained
elegance. We didn’t want to use luxury products
of the kind you find in a first class hotel. Tactility
has been important. The materials used are
unexpected; it’s supposed to be rough and sensual
at the same time.”
Anderson has now retired Fluidic Design to
join Tengbom as part of the new Studio Ljus
Team where he continues to pursue sustainable
architectural lighting.
www.fluidiclighting.com
Residential lighting
Pics: James Anderson
Opposite page Inside the bunker, the
stark and cold sitting room features a
bright tube light stretching down the
length of the room, illuminating the
stylish leather seats.
This page A combination of interior
and exterior shots that give a true
insight into this building and its
surroundings. The cement blockade
landscape is carried through to the
inside, continuing with the straight
lines and grey colour scheme. The
kitchen presents the only warm tones
with natural wood cabinets, which
act as a juxtaposition to the cold
stainless steel elements and light
fixtures. The glass floor panels bring
a high intensity of light to the room,
illuminating the feature cement walls
and reflects on the stainless steel wall.
Inground linears by Lumenpulse and
pathway lights by Lucifer create a
dramatic landscape, whilst Orluna
provided inground projectors to add
to the effect.
www.arc-magazine.com 149
150 www.arc-magazine.com

Mes que un Casa
DesignPlusLight has brought a sense of luxury to a contemporary home in the hills
of Barcelona thanks to a soft, subtle new lighting scheme.
D
esignPlusLight (DPL) collaborated with
interior designers Carden & Cunietti
to design the lighting scheme for a
contemporary, four-storey home in the
hills of Barcelona.
The house, developed by local architect Joan Guibernau,
features a cantilevered metal staircase, running
from the basement to the third floor. A custom Bocci
pendant was designed to cascade circular balls of light
across the three floors, and DPL detailed a customised
suspension plate that allows the pendant to span across
the top floor skylight. Detailed so that the fixing plate
was suspended above the ceiling line, it makes for a
discrete installation, while still allowing sufficient
daylight to filter down during the day.
The result is a shimmering and delicate lighting effect,
cascading down the stairwell. This provides a general
light level on the staircase, however DPL positioned
square floor washers into the side wall to illuminate the
cantilevered treads and provide a further layer of light
to the staircase.
DPL also designed surface box downlights, as there
was no ceiling void within the concrete soffits in which
to recess traditional downlights. A shadow gap was
detailed into the base of the surface box so as to reduce
the impression of the fitting on the ceiling, which
added to the contemporary feel of the space.
“If you can’t recess downlights into the ceiling
because it may be listed or there is no void space, then
I think surface spotlights have an honest appearance,
especially in a contemporary space,” explained Sanjit
Bahra, Founder of DPL.
Elsewhere, the open plan living areas comprise a lower
ceiling over the music library and dining area, with a
double height space over much of the reception.
A sense of intimacy was created in the dining room with
Residential Lighting
a ceiling cove light that provides a perimeter halo. Floor
recessed uplights illuminate the partition screens to
create a sense of rhythm and also lift the impression of
the space by providing a lit soffit.
As such, the eye is then drawn up to the double height
space with the use of a customised fibre-optic light art
piece designed by Sharon Marston, mounted on the
fireplace wall. Strands of light create a playful display
that slowly sparkles and shimmers against black glass
panels. A high level slot creates a soft halo wash of
light to the sheer curtains, and helps to connect the two
ceiling heights by using the same lighting effect.
Square plaster-in downlights create a contemporary
feel in the master dressing room and complement the
recto-linear skylight. The latter is softly illuminated
at night to provide a subtle glow within the ceiling.
Elsewhere, mini LED spotlights detailed into the vertical
frame of the handbag shelving provide a glamorous
focal point within the horsehair cabinetry, creating the
overall impression of a luxurious fitting room.
A perimeter ceiling slot provides a soft halo to the sheer
curtain in the bathroom. The linear lighting effect is
continued at the basin with a halo-lit mirror, providing
a diffuse lighting effect. Floor wash lights create pools
of light in the shower room and WC, and act as a night-
light when using the bathroom in the evening, giving
the space a spa-like quality.
A secondary stair is lit with step-lights that play with
the form of the asymmetric block-like treads.
The kitchen has a lower ceiling height, so to create
a sense of depth, storage shelving is illuminated,
creating lit niches. Surface mounted spotlights within
the skylight light the central island, while linear
striplights under the island and on the perimeter work
surfaces provide a soft halo of light.
www.designpluslight.com
www.arc-magazine.com 151
Pic: Matteo Piazza

152 www.arc-magazine.com

Pic: Marco Campanini
Eco-friendly Modernism
A modern residential complex in the highly desired suburb of Fidenza, Italy,
has broken all barriers of sustainability and eco-friendly design.
S
ituated in the upmarket Italian
suburb, Fidenza, the House on the
Park is an apartment block that brings
all modern technology and design
to fruition. The original and expressive design
has incorporated a huge range of eco-friendly
attributes throughout the building, thus becoming
the first to obtain certification from the Active
House Italia, Passive House Institute Italia and the
Multi Comfort by Saint Gobain, whose guidelines
examine the energy performance aspects but also
the quality of the building’s environmental impact,
the sustainable building materials and the health
and comfort levels of the living environments for
residents.
Architectural Lighting Designer Rada Markovic had
the task of lighting this edifice’s three different
sections of varying sizes and heights for the
client, Montanari Costuzioni s.r.l. The façade was
Pic: Marco Campanini
programmed with various illumination modes
in order to cooperate with the energy efficiency
standards, including evening, utility and night and
day passage schemes. Cree LED strips and an array
of L&L Bright fixtures were put in place to light the
entrance atrium, whilst a smaller light source was
used to light the main columns, specifically a 3W
in-ground mini spot with +/- 15-degrees for glare-
free scenographic lighting. The central columns
were placed as a reference of leaning tree trunks
in the wind and treated in a certain way to act as
a metaphor for ‘friendly nature’ as the central
running theme of the building and its source of
energy. Soft, diffused and indirect lighting is used
for the central stairway that opens up the heart of
the building, drawing the eye up with a continuous
line of light. 4W and 14W LED strips by Cree that
are sustainable, extra thin, flexible, powerful and
easily adaptable, are used on each of the edges.
residential Lighting
Pic: Matteo Piazza
Opposite Page External shot of the
appartment block. Tree lined streets are
complimented with the exterior lighting.
This Page Left Outside loggias with
dimmed in-ground spots and illuminated
shrubbery. The L&L Bright and Spot
fixtures create a modern and warm sense
to the external walkways and create a
safe environment for residents to move
around the building.
Top Right Internal stairway presenting the
contrasting light line using the Cree LED
strip lights that draws the eye through and
upwards.
Bottom Right External entrance atrium
lit with accent spots on the columns,
stairway and ceiling LED lines by Luce &
Light and Cree. Designed with DIALux
software programming, the lighting can
be adapted and altered according to the
needs of the spaces and natural light.
www.arc-magazine.com 153
 residential Lighting

Top Buck Lighting’s linear strip LED lights

underline the garden beds in the outside
walkways, creating a non-intrusive floor
lighting solution, giving the outdoor space
a modern feel.
Middle Buck Lighting Slim Line LEDs light
the underground garage spaces with bold,
clean lines. Providing bright functional
lighting, the LEDs also add a modern,
artistic take on the typical underground
carpark lighting.
Bottom An ariel view of the outside space
and surrounding gardens for the block of
flats. L&L Bright and Spot fixtures are used
throughout the outside space, creating a
chic and somewhat majestic feel to the
environment, allowing the varied plants to
cast bold shadows across the white walls.

Pics: Marco Campanini

Markovic’s lines of light also create a visual contrast and a

dynamic interaction between the light during the day and
night.
Surrounding pedestrian areas and garden features are
illuminated with in-ground light sources using L&L Bright
and Spot fittings, whilst pathways and communal spaces are
lit with Buck Lighting’s Slim Line fixtures. The public access
to internal parking areas are lit with L&L’s Bright 5.9D
fittings and are controlled using motion sensors, allowing
five minutes of light per activation.
Depending on the time of day and the season, each of
the external light fittings are synced to individual modes
and are adjusted accordingly with the Dali sensors. For
example, the Night passage settings reduce to 50% with
some remaining on for security purposes, whereas the
Day passage adjusts depending on the amount of daylight,
especially during the darker winter months. The Dali
sensors will dim the various strip lights to achieve the
pre-set intensity, thus in-keeping with the electrical
consumption targets.
Giovanni del Boca and Alessandra Amoretti, Architects and
Co-owners of Studio DelBoca + Partners, which worked on
the project alongside Milano-Parma and Studio Architetti’s
Simona e Giovanni Rossi, commented: “House on the Park
is a structure with a contemporary design located in a prime
area of the town. The project combines sustainability,
energy efficiency and technological innovation within a
highly flexible and efficient layout of the spaces and traffic
flows designed to safeguard the fundamental aspects of
the urban surroundings: the view and the greenery. It is
the result of a concerned mutli-disciplinary approach and
the potent but not overpowering architectural design is
based on a qualitative approach truly capable of improving
man’s habitat, and the well-being and quality of life of its
residents.”
www.radamarkovic.com

154 www.arc-magazine.com
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 RESIDENTIAL LIGHTING

Modern Elegance
Italian architect Francesco DiNisio has transformed a historic building in
the centre of Vicenza, creating a home that beautifully blends modern and
vintage elements, with the help of some lighting from Linea Light Group.

F
rom the refurbishment of a
historic building in the elegant
centre of Vicenza, Italy pops up
a delightful home that features,
in the limited space afforded by the ancient
structure, several masterfully designed
rooms furnished with a refined style that
blends modern solutions and vintage
elements.
The flat was a loft conversion, with the
original beams left exposed and turned
into a feature. This is enhanced by Linea
Light Group’s Pound projectors, installed
along the crossbeams and directed toward
the ceiling to create indirect lighting of the
rooms. Among the many antique paintings
and exquisite furnishings are the decorative
Heli wall lamps and the modern and refined
Branch suspension luminaire that envelops
the dining table in soft lighting.
Throughout the residence, Linea Light
provided a range of luminaires, including the
Branch, Vedette, Ribbon and Baton fittings.
The Branch is a perfect combination of
modernity and elegance, taking shape in
a luminaire characterised by minimalist
design. Branch is a fissure in space, a tapered
evanescent line caught in a play of light and
shadows that disappears and reappears in
all its glory. The fixture houses a topLED
source with CRI 90 concealed in the slightly
recessed casing.
A square wall light with a minimalist
modern design, the Vedette allows the
creation of evocative light patterns with
astonishing visual effects. The powerLED
source with four power levels ensures
reduced consumption and a very warm
light. Vedette_Q is characterised by highly
versatile light management: the optics
angle allows control of the light beam
width, creating several aesthetic effects
and meeting the most diverse needs. With
a resin-potted driver integrated in the
anodised aluminium casing and neoprene
cables, the wall light has been designed for
the outdoor lighting of hotels, private homes
and for urban lighting.
The Ribbon LED strip is made up of 60
carefully selected and tested LEDs per metre,
mounted on a flexible circuit with adhesive
backing. The Ribbon Basic model is suitable
for any kind of application and can be folded
or cut into 6-LED units without damaging
the rest of the module.
Finally, the Baton is a lacquered aluminium
cylindrical suspension, available in
different diameter, length and finishes.
Ideal as a single lighting point for creating
sophisticated and refined atmospheres, it
can also be installed in compositions defined
by different dimensions, finish or height.
A special integrated lens provides lighting
control, while visual comfort is guaranteed
by a set back LED source.
www.linealight.com

156 www.arc-magazine.com
 RESIDENTIAL LIGHTING
Six Levels of Luxury
Nulty+ has brought its luxurious, stylish lighting design to Notting
Hill, transforming a six-storey townhouse into a stunning new home.
A
Notting Hill townhouse has been
completely transformed into a
luxurious, spectacular new residence
thanks in part to a new lighting
design from Nulty.
With five floors and a basement complete with
a swimming pool to consider – all bursting with
architectural details – this was no mean feat for
the London-based lighting designers, but early
collaboration and a great deal of passion paid off
to produce stunning results.
The lighting scheme works in harmony with
the stylish and contemporary architecture, and
crisp, clean lines of the interior, yet it creates a
‘homely’ feel for the owners.
Illumination effects were concealed where
possible, while statement pieces were used to
create an ambience – for example, three Raimond
lamps by Moooi hang elegantly above the dining
room table, giving a ‘soft glow of a starry night’.
A standout design feature in the property is
the ‘curved’ staircase – in order to emphasise
158 www.arc-magazine.com
its movement and fluidity, opal low-level LED
luminaires from Brick in the Wall were installed
along the sides, while diffused LED lighting was
integrated into the joinery, giving off a soft,
warm light along the staircase.
Elsewhere, the subterranean swimming pool,
gym and cinema ooze tranquillity, with the
minimalist architectural lighting provided by
DAL and Ikon Design continuing throughout
the nature-inspired space, defining quality
materials. A datum line of illumination around
the pool washes down into the water and extends
across the double-height space at the rear,
creating the perfect sense of serenity.
The task of creating a lighting scheme around the
unique architecture of a West London townhouse,
from the basement pool, right up to the attic, was
something that really appealed to Daniel Gray,
Senior Lighting Designer at Nulty, and the effort
from the lighting designers has helped to create a
stunning property, across all six floors.
www.nultylighting.co.uk
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 Luxurious Living
High-end residential lighting designers Light.iQ, in collaboration with Rigby
and Rigby architects, created a cool, modern, luxurious living space for one
London Mews property.
L
ight is so often misunderstood and
taken for granted, it is only when it
is reduced to nothing more than a
shadow or evaporates completely that
we realise its power and hold over us.” So says
Light.iQ founder and Creative Director, Rebecca
Weir, of her firm’s mission to provide inspirational
and innovative lighting solutions.
Light.iQ works in close collaboration with
architects, interior designers and private clients
worldwide, and they pride themselves on their
long-standing relationships. One such partnership
is with Rigby and Rigby, an international super-
prime specialist developer of residential and
commercial spaces. Both companies have seen a
substantial shift in the requirements of high net
worth clients who have been engaging much more
with the lighting design process in recent years.
With more than 20 collaborations to date in
160 www.arc-magazine.com
London, one particular project stands out for
Rigby and Rigby and Light.IQ, as Weir explained:
“A client purchased a Knightsbridge Mews and
required a cooler, more contemporary scheme.
The interior designers introduced black glass,
dark details and sumptuous finishes. It was easy
to add lighting to this wonderfully sexy ambience.
However, the challenge included ensuring there
was plenty of light for more functional tasks such
as cleaning!”
Of particular note was the car-stacking garage
that ended as a piece of art, viewed through
panoramic glass in the basement. With an enviable
car collection, the lighting through this moveable
mechanism required the impact of a gallery. With
close collaboration from all teams, the end result,
utilising Radiant Lighting’s Flex System 40, was
breathless.
“As the car descended, translucent curtains

opened to reveal the sparkling engine,” explained
Weir. “With several light settings in place the
luxurious collectors’ item could be viewed in
multiple ways. The challenge as is so often the
case was to ensure we could conceal all the lights
amongst the moveable parts.”
“Clients today are often incredibly well briefed
before starting their projects, often knowing what
they don’t want whilst not always being sure of
what they do,” continued Weir. “We are looking
to provide that missing link, that seamless part of
the equation that pulls all factors of the creative
process together.” An example of this can be found
in the beautiful bedroom and bathroom, with
stunning fretwork and joinery detailing setting
off the Applelec light panels to maximum effect.
Elsewhere, Rinia LED tape from Lucerna Lighting
provides a subtle, seamless light throughout the
property.
“Much has been written about the effects of
Circadian based lighting, however, here we looked
not to jump on the marketing bandwagon but
to provide a solution that would take the client
from bright early morning starts to more subtle,
mood enhancing ambient light for evening,” Weir
Residential lighting
explained. “Flexibility and personalisation is key Previous page This property’s car
stacking garage was transformed
to the optimisation of these effects, we understand
into a piece of art. Viewed
that one solution will not fit everyone and ease of through panoramic glass in the
use is key. basement, the lighting through
this moveable mechanism,
“The challenge we often find is designing in the provided by Radiant Lighting, had
detail whilst ensuring maintenance can be easily the impact of a gallery.
Above In the bedroom and
carried out when required – there is no such thing
bathroom, Light.iQ utilised
as ‘forever’ with any light as we know!” fretwork and joinery detailing to
Within residential schemes lighting is so often offset the Applelec Light Sheet
lighting panels to maximum
decorative, defined by the shape of a wall sconce effect.
or pendant. However, Weir feels that the greatest
schemes are often more ethereal, where the
subtlety of the light dances and changes to the
pattern of the day.
“Light should not be static,” she said. “Great
lighting design will rarely be discussed because
it becomes part of the personality of the client,
the house, or the time of day and is thus invisible;
only there to reinforce the character of the space.
Hopefully we have achieved that.”
www.lightiq.com
www.arc-magazine.com 161
 RESIDENTIAL LIGHTING
Social Behaviour
London-based lighting designers at Light Follows Behaviour
have continued their inclusive, socially driven approach to design
with the recent exterior renovation of the Shadwell Estate,
located in East London.
A
s a practice, Light Follows
Behaviour is committed to
exterior residential projects
needing lighting intervention
as a way of improving the wellbeing of
local residents, and the renovation of the
Shadwell Estate is another example of this.
It is also the first example of a social housing
project lit to higher standards, setting out
to push boundaries in public realm lighting,
and especially in social housing.
The lighting scheme was developed as part of
a multidisciplinary design team, in response
to residents’ comments. The project
represents the beautiful integration of
lighting with the architecture, landscaping
and exterior amenities, such as benches,
storage and a children’s playground.
The project represents a well-lit exterior
environment that is not only pleasing to
the residents, but also appreciated by those
passing by.
162 www.arc-magazine.com
The use of low glare light fittings reduces
the light spill to the residents’ windows,
and does not contribute to the brightening
of the night sky. Elements such as accent
lighting on façades, integrated bench
lighting from LED Linear, path lighting from
Erco and moon lighting to trees, courtesy of
Erco, Bega and iGuzzini, add to the overall
pleasant ambiance of the residents’ exterior
environment.
The project serves to show that good
lighting can make drastic positive changes
to residents’ perception, regardless of their
social status.
Light Follows Behaviour commented: “We
find that our proposed lighting schemes not
only demonstrate good lighting in technical
and design terms, but also result in great
satisfaction and pride to the local built
environment.”
www.lightfollowsbehaviour.com
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Das gute Licht.

For better architecture.

BEGA_Decke_AZ_MONDOARC_02_18_236x333_ISOv2_GB.indd 1 17.01.18 17:21

 RESIDENTIAL LIGHTING
Pics: Tom De Gay
In and Out
Astro Lighting’s Porto Plus range helps to bring a modern new
aesthetic to the recent renovation of an Edwardian town house
in London, that blurs the borders between outside and in.
I
n collaboration with Mulroy
Architects, talented design
studio Manea Kella recently
helped add an extension to a
family home in north London.
London-based Manea Kelly was briefed by
the client to maintain the period character
of the front façade of the end-of-terrace
Edwardian home whilst the interior would be
modern. One of the side walls of the house
was removed and replaced with a stock brick
cavity wall and joined to the rest of the house
by a sliver of glazing. Directly outside this
glass passageway, a raised flowerbed adds
greenery to the kitchen space.
Grey tiles underlaid with underfloor heating
continue this theme, merging the kitchen
space with the similar tones of the outdoor
concrete patio, which steps down into
the similarly grey-tiled terrace. For the
furnishings, Manea Kelly referenced the
original Edwardian oak staircase that leads
up to the first floor, continuing the use of the
164 www.arc-magazine.com
wood throughout the house. In the kitchen,
the design studio included a bespoke solid-
oak dining table and bench that sit under the
skylight, while a smaller version of the table
is used as a coffee table in the ground-floor
living room.
To add a contemporary touch, Manea Kella
chose Astro’s Porto Plus range of lights for
the kitchen, dining area and exterior of the
house.
A contemporary wall luminaire perfect for
any exterior space, the Porto Plus is IP44-
rated and available either with a dual or
single light source. Finishes include either
matte painted silver or matte black.
Director of Manea Kella, Adrian Manea,
said: “We found the design of Astro’s Porto
Plus lights to complement our minimalist
intervention. The lights were selected due to
them being elegant, compact yet striking due
to the contrast created against the exposed
brick and grey rendered walls.”
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 Holistic House
The blueprint of Ori House features the clean, chic and eco-friendly
designs from Ekkis and Studio McLeod, utilising daylighting design
from Cundall.
E
kkist and Studio McLeod have come
together to create this collaborative
architectural blueprint called The Ori
House.
With health and wellbeing at the forefront of
design for Ekkist’s architecture, six core principles
are essential for the design process including;
light, air, water, biosphere, atmosphere and
adaptability and longevity. These principles
are based on the Passivhaus principles (that
ensure good levels of insulation, solar and heat
sources, airtightness and air quality) and the
WELL Building Standard, as well as designed with
BREEAM in mind.
It presents a highly adaptable design that can
be created to suit a range of different sites with
options to extend and form bespoke alterations.
Olga Turner, Director and Co-Founder of Ekkist
explained: “For us, architecture for wellbeing is
166 www.arc-magazine.com
about attention to detail. It involves a holistic
approach to the design process, bringing
together striking, sculptural aesthetics, strong
environmental values and a focus on how
occupants will feel and interact within our
buildings. It is about designing for comfort,
beauty, resilience and, very importantly, our
health and wellbeing.”
RIBA award winning architects Studio McLeod
worked closely with Ekkist to form a design
encompassing daylighting into the heart of the
project. Using guidance from WELL Building
Standard and the daylight strategy by Cundall,
Ekkist aimed to incorporate positivity into the
living environment, focusing on elements of
improving the occupant’s circadian rhythm
function.
It was important for the team to incorporate a
large range of British-made products and use

Pics: Ekkist CGI’s
British brands throughout the project, for
example Astro’s track lighting, which were
both designed and engineered in the UK.
The importance of daylight in this design,
demanded particular attention to the room
orientations, to allow maximum daylight
to enter through large windows. The open
plan layout with three metre high ceilings
also further maximises the opportunity for
natural light to fill the space.
A striking geometric lighting rail is featured
in the main living areas, providing a modern
answer to task lighting as well a bespoke-
designed sculptural light to illuminate the
dining.
Working closely with Lucid Environments,
the architectural team produced numerous
visualisations of the project to see different
lighting necessities throughout the day and
at different points of the year, to ensure
the lighting installed would work with
maximum impact.
As it is still a working design that is
aimed at being flexible depending on the
client’s desires, these light fittings are
interchangeable and alternative options are
provided to align the lighting with the joists
if a different design is desired.
Clayworks clay plaster provides a highly
reflective surface for natural light to be
bounced back into the rooms. This eco-
friendly method of wall coverage using clay
plaster instead of conventional plaster and
paint not only adds more light but also saves
over one tonne of carbon dioxide.
Jonathan Baker, Director and Co-Founder of
Ekkist, commented: “It is about curating all
the pieces of the puzzle, which contribute to
our understanding of health and wellbeing
through architecture, and coming up with
solutions for how they can be delivered
in buildings, without compromising on
aesthetics or sustainability.”
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Residential Lighting
Previous Page Open kitchen and
dining space featuring the black
geometric linear light fixtures that are
adaptable for each individual design
preference.
This Page Left An external view of
the kitchen/diner space, highlighting
the triple headed pendant hanging
over the breakfast bar and the black
geometric linear fixture creeping over
into the living space.
Top Right Natural light is prominant in
the open plan living and kitchen areas
with walls of glass open to the exterior
of the property.
Bottom Right External shot of the
building surrounded by endless
greenery, a key factor the design team
wanted to incorporate for the health
and wellbeing of the residents.
www.arc-magazine.com 167
Pics: Matthew Andrews unless stated otherwise
North South
Divine
The Lumiere festivals in Durham and London,
organised by Artichoke, took place in November
2017 and January 2018 respectively, attracting
more than 1.75 million visitors between them.
Aether by Architecture Social Club
with Max Cooper (London)
168 www.arc-magazine.com
Eye Love London by The Coca Cola London Eye
F
or most festival organisers, one huge, national event
is quite enough workload throughout the year. But
for arts charity Artichoke, organisers of the Lumiere
festivals, one was not enough. Lumiere Durham and
Lumiere London took place within two months of each other and
represented a scintillating feat of creativity and hard work.
The first Lumiere light festival took place in Durham in 2009.
Originally planned as a one off, with the support of Durham
County Council and other sponsors, Artichoke has brought the
event back to the North East every other year since. In 2013,
Lumiere Derry~Londonderry was the finale to the first UK City of
Culture celebrations and in January 2016, Lumiere London came to
the capital for the first time attracting over 1 million visitors to the
city.
LUMIERE LONDON
The second edition of Lumiere London, commissioned by the
Mayor of London, transformed the capital over four nights, as its
streets, buildings and public spaces were illuminated by more
than 50 artworks by UK and international artists from fourteen
different countries.
More than 1.5 million people visited the festival over four nights,
with visitors traversing the pedestrianised city centre and taking in
sites across six city destinations: London’s West End, King’s Cross,
Mayfair, Fitzrovia, Westminster & Victoria, and South Bank &
Waterloo.
More than 80 technicians and crew took part in the technical
install and build of this vast event, while almost 1,000 stewards
and volunteers managed visitors over the four nights, ensuring
that everyone had a comfortable and enjoyable experience.
 Festival

The Wave by Vertigo (London)

Know Thyself by Finola Finn (Durham)

For The Birds was a meditative and immersive

journey through Durham University Botanic Garden
with over 20 light and sound installations.

Impulse by Lateral Office & CS Design (London)

Frequencies by Kari Kola (Durham)

www.arc-magazine.com 169
 Festival
Lampounette by TILT (London)
The Mayor of London, Sadiq Khan, said: “Lumiere London
has been one of the brightest and most exciting festivals
ever to hit the streets of the capital. With more than 50
artworks across the city, this was an incredible opportunity
to see our city’s iconic architecture and streets in a
completely new way.”
Helen Marriage, Artichoke CEO and Lumiere Artistic
Director, added: “Our aim at Artichoke is to create
extraordinary moments that disrupt the everyday and reach
the widest possible audience. We’re very proud to have done
exactly this through Lumiere London 2018 and I’m
enormously grateful to everyone who has played a part in
enabling this festival to take place”.
Lumiere London receives major support from London &
Partners, London’s West End, King’s Cross and Bloomberg
Philanthropies with additional support provided by a host of
partners and funders including Grosvenor Britain & Ireland,
Wellcome, The Fitzrovia Partnership and the Victoria, South
Bank and Waterloo BIDs, as well as Cain International,
Marriott and Universal Music.
Despite taking place over some of the coldest nights of the
year, enthusiastic festival-goers were undeterred by the
wintry weather and thronged the streets of London. Artists
from around the world adorned iconic London landmarks
with work made from light; Child Hood by Collectif Coin
filled Trafalgar Square with a canopy of 256 luminous
spheres; Ulf Langheinrich animated the National Theatre
flytower with his abstract projection OSC-L, while The
Lantern Company with Jo Pocock created Nightlife, an oasis
with woodland creatures inhabiting Leicester Square
170 www.arc-magazine.com
Origin of the World by Miguel Chevalier (London)
Pic: Nicolas Gaudelet
Illumaphonium by Michael Davis
featured in London and Durham.
Pic: Oliver Rudkin
Gardens.
A firm festival favourite was The Light of the Spirit Chapter 2
by French artist Patrice Warrener, who returned to London
to add to his digital painting of Westminster Abbey’s
intricately carved North and West doors, in bright and
luminous colour. In Seven Dials, people were delighted by
the return of Aquarium, a traditional red London telephone
box filled with tropical fish.
As well as lifting spirits and bringing joy to the darkest days
of winter, Lumiere London encouraged artists to use light as
a medium to address topical global issues. Dutch artist Daan
Roosegaarde flooded Granary Square to create an underwater
world lit with blue LED lights.
His Waterlicht installation responded to the climate change
crisis, showing viewers what it would be like if sea level
continue to rise. Meanwhile in St James’s Churchyard artist
Alaa Minawi played tribute to Syrian refugees with My Light
is Your Light and Tony Heaton explored subtle questions of
disability with Raspberry Ripple on the Southbank Centre.
Interactive installations proved a crowd favourite,
encouraging children and adults to play on the streets of
London. Visitors laughed and beamed with pleasure as they
took turns riding Impulse, a series of illuminated seesaws by
Lateral Office that lined South Molton Street. In Grosvenor
Square, visitors became musicians as they made the musical
sculpture Illumaphonium chime. On South Bank, The Wave
by Vertigo, an 80-metre-long path of 40 glowing sound
gates responded sonically and visually to visitors, while at
Westminster Cathedral the public cycled on stationary
bicycles to light The Rose, a colourful work made from
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 Waterlicht by Daan Roosegaarde (London)

thousands of recycled plastic bottles. romantic soundtrack. In Piccadilly Circus,

CONTROL NO CONTROL by Daniel Iregui (London)
Pic: Oliver Rudkin
Miguel Chevalier’s Origin of the World Bubble
2018 delighted visitors at Oxford Circus, who
watched changing shapes project onto the giant
sphere suspended across the world-famous
junction. Grosvenor Square was transformed by
Aleksandra Stratimirovic’s Northern Lights, an
artwork inspired by the experience of viewing
the aurora borealis, while in Chinatown viewers
watched Flamingo Flyway, created by Lantern
Company with Jo Pocock. King’s Boulevard in
King’s Cross was lined with TILT’s giant desk
lamps in a surreal nod to the area’s business
economy, while at St Martin-in-the-Fields, Ron
Haselden’s neon ladder, Echelle, adorned the
steeple and was visible from as far away as
Parliament Square and the South Bank.
Many of the works were accompanied by sound.
In Fitzrovia, Cosmoscope was an ambitious
sound and light installation supported by
Wellcome, which explored our place in the
universe. The piece, created by Simeon Nelson
and featuring an impressive soundscape by Rob
Goodman and Nick Rodwell, was the
culmination of two years of research, used
12,000 LED lights and involved the participation
of 700 primary school pupils from 25 schools
across the country.
At King’s Cross, Architecture Social Club fused
light, music, and performance in their
electrifying installation Aether, while
breakdancers performed in front of Philippe
Morvan’s DOT. In the Royal Academy of the
Arts’ Courtyard, Rhys Coren’s Matisse-inspired
paper-cut figures in Love Motion danced to a
Voyage’s specially created soundtrack took
viewers on a journey as they watched the hands
of the Hotel Café Royal clock speed through
time, created by duo Camille Gross and Leslie
Epsztein.
There were moments of contemplation too, with
works such as Entre les Rangs, a field of 15,000
flower-like reflectors by artist Rami Bebawi;
Droplets, a sonic installation by Ulf Pedersen in
Fitzroy Place; and the mesmerising Harmonic
Portal, a soothing display of changing colour on
St James’s Church by Chris Plant.
Londoners also provided the inspiration and
content for some of the artworks. For Asalto
London, Spanish artist Daniel Canogar filmed
220 local people so that they appeared to be
climbing the 20-storey Westminster City Hall
on Victoria Street. Light on Their Feet: Footfalls
for Rambert was created by artist David Ward
who photographed the soles of the Rambert
dancers’ feet and projected images that faded in
and out of visibility on the Rambert building.
With an expanded festival footprint, which for
the first time took in sites on both the north and
south side of the River Thames and a host of
community outreach initiatives, the 2018
festival truly did transform the whole city,
making this extraordinary cultural event that
benefited all Londoners.
Artichoke worked with partners in the outer
London boroughs of Greenwich, Lambeth,
Sutton, Croydon, Redbridge and Waltham Forest
to engage communities in the creation of new
artworks. More than 500 community

172 www.arc-magazine.com

What Matters by Shuster & Moseley (Durham)
participants helped to create artwork, Bottle
Festoon, by repurposing 6,000 plastic bottles
into glowing chandeliers. Local community
members were also at the heart of The
Umbrella Project, a glowing and meditative
performance piece that was choreographed
after a series of community workshops and
performed across various locations
throughout Piccadilly, Victoria, Mayfair and
Fitzrovia during the festival.
Laura Citron, Chief Executive Officer of
London and Partners, said: “Seeing
Londoners and international visitors alike
exploring London’s streets, buildings and
neighbourhoods as they were brought to life
with colour, light and music was fantastic.
The scale of Lumiere London showed
London’s ability – and appeal - to host
world-class events and cultural activities
that are free and accessible for all.”
LUMIERE DURHAM
Around 240,000 people visited the fifth
edition of Lumiere Durham, many of whom
explored the outer reaches of the footprint
to discover some of the most popular
artworks such as What Matters, Cosmic
Architecture, and For The Birds. Lumiere
Durham is commissioned by Durham County
Council with additional support from Arts
Council England, Durham University and a
host of further funders and supporters.
Since its inception in 2009, Lumiere has
transformed Durham City into a nocturnal art
gallery every two years. For the 2017 edition,
29 spectacular artworks and installations
created an illuminated trail right across the
city.
Iconic Durham landmarks were amongst the
sites transformed by art, including the
city’s historic Cathedral which Spanish artist
Pablo Valbuena turned into a vast
synchronised artwork of sound and light. The
beautiful Miners’ Hall at Redhills was
brought to life by an exciting 3D video-
mapped piece by Shared Space & Light,
featuring real-life stories from the workers
in the police, fire and health services.
Top visitor favourites included the
mesmerising Frequencies by Finnish artist
Kari Kola, which stretched along the
Riverside under the Cathedral up to Durham
Castle.
Another firm favourite was For The Birds in
Durham University’s Botanic Garden,
an enchanting collection of more than twenty
light and sound installations inspired by
birdlife.
The programme included something for
everyone. Families enjoyed the interactive
installations at Walkergate, Prince Bishops
Shopping Centre and Millennium Place,
where hundreds tweeted their ‘love’ for
Lumiere in response to Aidan Moesby’s
periodic table of emotions: Sagacity. At
Milburngate, the vast kinetic fire installation,
Fire Tornado by Ivo Schoofs drew enthusiastic
crowds, whilst others contemplated quieter,
more serene works, such as Drawn in Light at
Elvet Bridge, What Matters at St Oswald’s,
Festival
and White Line by Adam Frelin, a deceptively
simple installation that elegantly retraced a
former bridge over the River Wear.
This year’s programme had a strong
international element once again, with
artists from around the world, including the
United States and Canada, Spain, Holland,
Sweden, Finland, as well as the UK. More
than half of the installations were outside of
the main ticketed area of the central
Peninsula.
In his first UK commission, Spanish artist,
Pablo Valbuena transformed the interior and
exterior of Durham’s world famous Cathedral
with Methods. Inspired by the tradition of
English change-ringing, which dates back to
the 17th century, live bell ringing triggered
lights in time to the sequence. Led by
Durham Cathedral’s Bell Major, Christopher
Crabtree, 60 bell ringers from the North East
and beyond performed live for six hours each
night of the festival.
Local people have participated in the festival
throughout. Volunteers from the Chester-le-
Street Area Action Partnership joined others
in helping to plant a field of over 15,000
illuminated stems for Rami Bebawi’s Entre
les Rangs in the Cathedral Cloister. More
than 70 local public-service workers, from
firefighters and refuse workers to teachers
and police officers, were filmed for The
Common Good, at the Miners’ Hall at
Redhills. British artist Hannah Fox collected
the digital data of 66 local volunteers aged 5
to 78, video mapping their facial expressions
www.arc-magazine.com 173
 Festival
Methods by Pablo Valbuena (Durham)
to create Our Moon, a moon face that watched over the city
from the walls of Durham Castle, ageing with each festival
night.
The BRILLIANT commission showcased the talent of five
local artists, including Aidan Moesby, Chris Plant and Amy
Welch, who took patterns within Durham Cathedral for her
inspiration. Emma Boyes’ creation at Durham railway
station drew on the heritage of the North East while Finola
Finn suspended a throbbing red heart inside The Count’s
House exploring ideas of the self.
Supported by Wellcome, Cosmoscope was the culmination of
two years of research by a team of artists and scientists, led
by Simeon Nelson and including academics from Durham
University’s Institute for Computational Cosmology. The full
process involved 700 primary school pupils from 25 schools
across the county who participated in workshops designed to
get them thinking about science. The ambitious sound and
light sculpture used over 12,000 LEDs and an impressive
soundscape, to explore our place in the universe.
Also responding to scientific questions in relation to the
universe, Cosmic Architecture delighted crowds at the Ogden
Centre for Fundamental Physics at Durham University’s
Science site, eliciting rounds of applause after each show.
Projected onto the building, the video mapped sound and
light work presented a mesmerising illustration of the
marriage between the contemporary architecture and
the expert level of scientific research that takes place on a
daily basis inside the building.
174 www.arc-magazine.com
Our Moon by Hannah Fox (Durham)
Cosmic Architecture by Nina Dunn /
John Del’ Nero (Durham)
To coincide with the festival, Artichoke hosted a one-day
conference at Durham’s Gala Theatre, in association with
Durham County Council and supported by the European
Commission. On Friday 17th November, audiences heard
from a range of visionary and renowned speakers including
artists, producers, academics and thinkers, who shared their
experiences, expertise and opinions on the role of culture in
our changing world.
Helen Marriage commented: “I think this has been my
favourite Lumiere festival so far. Part of the joy of
programming this festival is thinking about ways to keep it
fresh and new each time, and I think we really have achieved
that.”
Councillor Simon Henig - Leader of Durham County Council
– said: “Lumiere has once again offered us the chance to
showcase our beautiful city, our unique history and heritage
and our wonderful people on a world stage.
“I am also delighted that, as always, the public have shown
their huge affection for this event by turning out in the tens
of thousands to enjoy the 29 artworks that have illuminated
Durham City in new and exciting ways.
“Together the five editions of Lumiere have seen more than
800,000 people counted through the peninsula entry points
alone and I anticipate that the £21 million in economic
benefits delivered by the first four festivals will rise
significantly once we evaluate the 2017 edition.”
www.lumiere-festival.com
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 Riverside
Delights
For its sixth edition, Amsterdam Light Festival
welcomed 36 artists from thirteen countries to
create Existential works of art throughout the
historical city centre.

Whole Hole by Vendel and de Wolf

Pics: Janus van den Eijnden

176 www.arc-magazine.com

Eye to Eye by Driton Selmani
T
he sixth edition of Amsterdam
Light Festival, held from 30
November to 21 January, saw 36
artworks designed exclusively for
the festival illuminate the Dutch city centre.
Artists from all over the world submitted
installations, including famous Chinese artist
and activist Ai Weiwei, and Brit Cecil Balmond,
based on the central theme of Existential, and
visitors could walk, cycle or take a boat ride
along the festival’s two exhibition sites, both
on land and on the canals.
The water exhibition consisted of 21 artworks
on and around the canals in the historic centre
of Amsterdam. Ai Weiwei’s installation,
entitled thinline, was a 6.5-kilometre long
line that ran through the city of Amsterdam,
representing a border. With this, he posed the
question of who is allowed to cross a border,
who decides this and how vulnerable a border
actually is.
With her installation Infinita, Cecil Balmond
questioned whether the essence of our
existence is what we can see, touch and feel, or
Festival
City Gazing by VOUW
whether it is something that lies beneath the
surface.
Elsewhere, Kosovar artist Driton Selmani was
inspired by the nazar amulet for the artwork
Eye to Eye. This amulet was designed to
protect Amsterdam, its inhabitants and
visitors from all forces of evil.
Dutch contributions to the water exposition
included Whole Hole by Paul Vendel and
Sandra de Wolf and ORIGIN by
VENIVIDIMULTIPLEX. Visitors who entered Existential: a collection of individuals by AlexP
Whole Hole during a boat tour were pulled into
a kind of wormhole, traveling to another place
in space or a parallel universe.
The ORIGIN artwork was inspired by the origin
of light and featured many light rays that
spread out above your head in a circular form,
referencing a cosmic pop from which light is
formed.
For the first time, the Amsterdam Light
Festival land exhibition took place on
Marineterrein Amsterdam, within walking
distance from Central Station, and featured
Infinita by Balmond Studio
fifteen installations.
www.arc-magazine.com 177
 Festival

thinline by Ai Weiwei

MYTH by Ben Zamora
Brocken 6A by Yasuhiro Chida
One such installation saw Japanese artist
Yasuhiro Chida create Brocken 6A, taking
inspiration from a natural light phenomenon
that occurs when then sun is positioned
directly behind you, breaking and scattering
the light rays.
Also part of the land exhibition was AlexP’s
installation Existential: a collection of
individuals. This artwork consisted of 576
LED lights hanging from a circular frame.
Each individual light marked a spot of the
ground; together these spots formed a circle
of light. This circle wasn’t static though, as
the welcome and unpredictable factor of
wind kept it in motion.
Throughout the festival, Marineterrein
Amsterdam served as a meeting point for
visitors, locals and artists, while the
exhibition also included an additional daily
side programme, consisting of readings
about light art, public interactive
performances by artists, talks with the
participating artists about the creation of
their work, and special tours along the
artworks on Marineterrein.
Also for the first time this year, the festival
crossed the river IJ for the World Masters of
Projection Mapping (overleaf), where video
projections were showcased on the façade of
EYE Filmmuseum.
“We have a very good feeling about the sixth
edition of Amsterdam Light Festival,” said
Lennart Booij, artistic director of the event.
“I am delighted that we succeeded in our
ambition to take the festival to a higher
artistic level. The careful consideration of
the artworks, the land exhibition on
Marineterrein and the World Masters of
Projection Mapping all contribute to the
realisation of this ambition.”
Following on from the success of Amsterdam
Light Festival, organisers are already looking
ahead to the seventh instalment of the
event. The upcoming festival will revolve
around the creative interpretations of the
main theme: The Medium is the Message,
and has received more than 600 submissions
from artists around the world.
www.amsterdamlightfestival.com

178 www.arc-magazine.com
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 festival

The winning entry,

Florian and Michael Quistrebert (FR), Stripes 5

Master
Blaster
Data-based dialogues for algorithmic landscapes
by Geert Mul (NL)

Paul James, editor-in-chief of arc, was among

the judges for the first ever World Masters of
Projection Mapping held in Amsterdam during
Integrated Systems Europe 2018.

Alida Dors & Manuel Rodrigues (NL), Close Up

F
lorian and Michael Quistrebert were announced as the
winners of the first edition of the World Masters of
Projection Mapping at the Awards Ceremony at
Integrated Systems Europe 2018. World Masters of
Projection Mapping is a joint venture initiative from Amsterdam
Light Festival, Integrated Systems Europe and RAI Amsterdam.
The announcement came after a three-week period, during which
some of the world’s leading video artists projected their artworks
onto Amsterdam’s multifaceted EYE Filmmuseum.
The specific award for the Quistrebert brothers’ Stripes 5 recognises
The Best Use of Location and Technology.
In total, five artists were chosen to show their artworks on the
building. The challenge for them was both creative and technical.
Eder Santos (BR), Call Waiting
The other participating finalists were: Geert Mul (NL), Databased
dialogues for algorithmic landscapes; TelcoSystems & Spatial Media
Laboratories (NL), TESTFILM #4; Alida Dors & Manuel Rodrigues
(NL), Close Up; and Eder Santos (BR), Call Waiting.
The selection of the finalists was carried out through close
collaboration between EYE Filmmuseum and Amsterdam Light
Festival. The International Jury who judged the finalists on 8
February comprised: Lennart Booij - Artistic Director of Amsterdam
Light Festival (Jury Chair); Jaap Guldemond - Director of Exhibitions
EYE Filmmuseum; Marente Bloemheuvel- Associate Curator of EYE
Filmmuseum; Jozef Hey - Founder and Owner of BeamSystems; Giny
Vos - Artist; Paul James - Editor in Chief, arc magazine; and Hartmut
Kulessa - Panasonic Europe.
TESTFILM #4 by TelcoSystems & Spatial Media
Lennart Booij commented on the winning entry: “The jury was very Laboratories (NL)
complimentary about the composition and the use of the building in
this display, including its underside. The artwork also answers the
question presented by the challenges of projecting onto a large
surface. Creatively, it is graphically very strong and reflects on art
disciplines such as ‘op art’ (optical art) and early abstract cinema.”
The theme of the first edition, ‘Bridging the Gap’, encouraged the
creation of connections, both physically in the city as well as between
people and cultures. The theme also illustrates the combination of
the three disciplines of art highlighted in this project: light art, video
art, and cinematography.
www.amsterdamlightfestival.com

180 www.arc-magazine.com
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Pics: Nunzio Prenna
Halo by Venividmultiplex and Fosfor Design

Bright Lights, L
ight graffiti, interactive light bubbles and flora light
drawings left the winter evenings aglow at Canary Wharf
as its annual, award winning Winter Lights festival

Big City
returned on 16th January 2018 for a fourth consecutive
year. The spectacle showcased more than 30 works from some of the
most innovative artists across the globe working in light art today.
Now a firm fixture on the London arts scene and free to the public,

Winter Lights, winner at the 2017 darc
awards / architectural returned for a
fourth year in January, illuminating Canary
Wharf with a series of beautiful light art
installations.
the 2018 incarnation once again drew upon state-of-the-art
light technology to deliver spectacular artworks, installations
and experiences to Canary Wharf, many of them interactive or
responsive. The exhibition featured never-before-seen pieces and
several UK firsts. New commissions this year included Dazzling
Dodecahedron by UK artist Amberlights, a beautiful 3D installation
that people can enter and enjoy the total rainbow spectrum of colour.
Additional new works include Halo by Dutch artists
Venividimultiplex. The artists have created a giant halo, which
was suspended above the fountain in Cabot Square. The ‘Halo’
is the artists’ representation of the sun, our greatest source of
light, which shapes the conditions for life on our planet and
emphasises the sacred being and bringing people together.
Keith Watson, Curator of Winter Lights, Canary Wharf Group,
commented: “Since its inception the Winter Lights festival has
really gathered pace and each year we strive to uncover new and

182 www.arc-magazine.com
 Festival

On Your Wavelength by Marcus Lyall

The Cube by Ottotto

Intrude by Amanda Parer

Dazzling Dodecahedron by Amberlights

Apparatus Florius by Tom Dekyvere

www.arc-magazine.com 183
 Festival
Helios by dpa Lighting Consultants,
LED Linear & Architainment Lighting
Abstract by Collectif Coin
exciting works to dazzle our visitors. The exhibition remains
London’s only annual Light Art exhibition and after
winning Best Creative Lighting Event at the darc awards
/ architectural 2017, we’re proud to be bringing more
commissions and never-before-seen pieces to the UK.
“The calibre of artists this year is once again
outstanding and features some of the best minds and
creators in the field. Interaction and immersion are
again key features of this year’s exhibition and are
what differentiates us from other festivals of this
kind. For us, it’s important that the pieces aren’t just
spectacles to be admired from afar, but works of light
art which people can engage with and experience.”
Mark Evers, Chief Customer Officer at Transport for
London added: “We’re delighted to support this event
by hosting Sonic Light Bubble. Canary Wharf is one of
the capital’s busiest stations and with the launch of the
Elizabeth Line in December 2018 the area will become
even more accessible to people across London.”
Additional standout works included Apparatus Florius
from Belgian artist Tom Dekyvere. His piece transformed
184 www.arc-magazine.com
Sonic Light Bubble by Eness
Reflecting Holons by Michiel Martens & Jetske Visser
Westferry Circus with a work that stands for togetherness,
happiness and joyfulness but also for danger, friction and
tension. The artwork aimed to illustrate the togetherness
and collaboration in contrast with nature and technology.
Meanwhile, returning for a second year was Marcus Lyall’s
popular On Your Wavelength. Originally commissioned by
Canary Wharf Group in 2017, the piece featured a mind-
powered light and sound installation of more than 20,000
LEDs which were controlled by a participant via an EEG
headset. As their thought patterns changed, the light tunnel
fitted with the LEDs created intricate light patterns.
As well as outdoor pieces, a series of specially curated
indoor section of works featured throughout Crossrail
Place and Crossrail Place Roof Garden. These included
Reflecting Holons by Dutch artists Martens & Visser,
which explore the ephemeral magic of light and
movement using moving objects creating the illusion
that they are water drops, and Helios, the 2017 darc
awards / architectural winning installation created by dpa
lighting consultants, LED Linear and Architainment.
www.canarywharf.com

To the Moon
and back
Coming around for its fourth edition, the
Ghent Light Festival beautifully illuminates
the dark streets of the Belgium city, and this
year was no exception.
Festival
G
hent Light Festival appears in the city to help brighten
the dark months. This year it was running between
the end of January and the beginning of February 2018
for five days, one day longer than previous years.
An updated light route has been modified from previous
editions in order to incorporate a full programme of sculptures,
projections and installations, produced by local, national and
international artists that will shine against the city’s backdrop.
As a platform for emerging artists, this festival boasts an
incredible 37 varied installations at individually designated
certain areas along the trail. Not only do the installations
illuminate the dark nights in mid winter, the new route also
puts a spotlight on the Historical Centre and the Arts Quarter.
Attracting an impressive 640,000 people to the festival in 2015,
numbers were expected to match if not exceed these figures
during this year’s event. Not only do the installations bring an
attractive artistic element to the city, they are also importantly
lighting up local historic sites and monuments throughout the
city, educating those many international visitors each year round
www.arc-magazine.com 187
 Festival
1 2
Pics: Stad Gent
through its historical charm after nightfall.
With such an array of artists from different
cultural backgrounds featuring their work
at this festival, it is interesting to see such a
variety of works produced for the same venue
and how there is an overwhelming amount of
alternative adaptions to the same festival brief.
An impressive installation in terms of scale, is
the Time Paradox by Limelight from Budapest,
who produced a large scale 3D projection
mapping artwork piece of a time travel journey
across the city of Ghent. A historic, futuristic
and modern three-dimensional journey was
projected on the façade of the St Pietersplein
building, taking the audience on a journey
exploring architecture, music and storytelling,
exploring the paradox of time travelling.
Alternatively, Graffiti Lights from Belgium
(described as an arty nerd or a nerdy artist)
produced a rebellious addition to the light
trail. Using homemade LED strips and other
illuminated materials, the artist wanders the
street taking photos and sometimes interacts
with street art using long exposures to create
liquid light tracks. Using locations in the city
where graffiti is forbidden, Graffiti Lights
created these temporary light art installations.
A nature inspired piece of artwork came
from Ivo Schoofs, a Dutch lighting artist
and his team. A sixteen foot tall fire
tornado towers above audiences, creating a
powerful rotating swirl of light and heat.
A mystical piece from Luke Jerram from
the UK is called the Museum of the moon. A
seven metre in diameter complete replication
of the moon floats angelically over the
audience’s head in Kalandeberg, imposing a
shroud of mystery over the spectators that
has inspired musicians, painters, scientists
and historical and spiritual stories alike for
centuries. Jerram’s illuminated sphere brings
us closer to the moon than ever before.
Stephane Masson from Toulouse produced a
188 www.arc-magazine.com
beautifully colourful collection of illuminated
kilner jars, 448 to be exact, neatly stacked
in rows. Each jar contained a miniature
tableau with a unique character, ranging
from a laughing baby to a pink elephant,
a dancing man and a giraffe. On occasion,
pictures of the general public are invented at
random and displayed in the Supercube.
An interesting installation, Pattern 5.0, Live
Sessies, by Milosh Luczynski from France, 5
illuminates the walls of the power plant with
light and sound via a live DJ session. A five hour
improvisation of audio clips, video mapping
and electronic music compositions by Patrick
Vidal and A Man Called Adam creates a spectacle
for the well loved suburban park in the city.
An interactive audiovisual piece was brought to the
festival from Matthieu Tercieux from Lyon, called
You are Here…Somewhere Else. Portraying a world
at the audience’s feet; snowy landscapes, world
maps, city plans and starry skies are projected 6
on screens immediately in front of the spectator
and responds to the real time movements of
those observing. The project initially gained
ground through a children-orientated artistic
workshop previously completed in Ghent.
A futuristic design blending romance and
efficiency, Habitat comes from Jerke Mulder
and Bouke Groen in the Netherlands. This
Left Page Museum of the moon. The
floating habitat sculpture is supposed to seven metre diameter spherical moon
globe floats above spectators who
create a confrontation between Ghent’s look upon it in awe.
This Page 1. Pattern 5.0, Live Sessies.
historic architecture and a contemporary Colourful projections of light flood the
office environment using fluorescent local power stations and silos in a well
like residential suburb.
lighting. Blending the inside and outside 2. Time Paradox. Large projections fill
the walls of the St Pieterslpein.
seamlessly, a strange environment is 3. You are here...Somewhere Else.
created through romance and efficiency. An interactive installation with
audiovisual qualitites
With lots more emerging talented lighting 4. Large Fire Tornado. A sixteen foot
tall tornado of fire spirals infront of
designers over the next few years, the audiences creating a hot light source.
5. Supercube, The Incredible
proceeding light festival in Ghent is set Collection. 488 illuminated kilner jars
to be just as exciting and full of intriguing containing minature characters in
various colours.
and engaging lighting installations. 6. Graffitilights. LED strips and other
light sources used to create flowing
www.lichtfestival.stad.gent light art in deserted areas of the city
where graffiti is normally banned.
The Light Tunnel by Mathew Rosenblatt Pics: Toronto Light Festival

Toronto
Night Life
The second annual Toronto Light Festival
has brought a playful sense of adventure to
the Canadian city’s Distillery Historic District,
bringing some much-needed warmth in the
winter months.

Hyperspace Bypass Construction Zone by HYBYCOZO

190 www.arc-magazine.com
 Festival

T
he second annual Toronto Light Festival, the city’s
largest light art festival, opened in The Distillery Moonburn by Stichting Barstow

Historic District in mid-January. Free to the

public, the festival spanned across thirteen acres,
starting at sundown, transforming the historic neighbourhood
into one of the biggest open-air galleries in North America.
Throughout the district, visitors are taken on a visual journey
and imaginative adventure, designed to entertain and inspire.
Held during the coldest time of the year, the festival aims to
draw visitors out of their traditional winter indoor habitats,
and bring positivity to the city at a time that it needs it most.
“We don’t think of ourselves as a fancy schmancy art festival,”
said Mathew Rosenblatt, Creator and Executive Director of the
Festival, and artistic exhibitor. “This is an accessible festival
for everyone to enjoy. We’re simply trying to make winter not
suck so much by putting some shiny, pretty objects on display
to make people smile.”
Featuring almost 30 light art installations from local and
international artists, one of the signature pieces showcased at Gummy Bear Pyramid by Dicapria

the festival is Talking Heads from Hungarian artist Viktor

Vicsek, comprised of two spectacular heads that react to each
other through their 4,000 individually controlled LEDs.
Alongside this, thanks to the sponsorship of Green P, is Heavy
Meta, a 30-foot fire-breathing metal dragon from Canadian
group Heavy Meta Collective.
Elsewhere, American artist Dicapria created an impressive,
14-foot tall pyramid made entirely out of ‘gummy’ bears.
Initially premiered at Burning Man festival in 2017, the Gummy
Bear Pyramid features more than 200,000 hand casted bears,
made out of custom moulds using urethane plastic, and dyed to
radiate a rainbow prism of translucent hues. The structure,
constructed out of metal with custom dual-paned acrylic boxes
that encase the mosaic of bears, is illuminated with LED lights
at night, while the translucency of the acrylic allows the sun to
illuminate the bears during the day.
Rosenblatt himself also created an installation for the event – a Heavy Meta by Heavy Meta Collective

100-foot long tunnel illuminated with no less than a trillion

lights, named simply The Light Tunnel.
In partnership with Lyft, the festival introduced a weekly “You
Are The Art” contest. On Saturday evenings during the festival,
visitors were invited to dress in a creative, fun, winter-themed
costume. Participants entered the contest by posting a picture
of their costume using the hashtag
#tlfcostume on Instagram – one top prize valued at $400 CAD,
and five secondary prizes valued at $100 CAD were awarded
each week.
The Toronto Light Festival once again partnered with the Yonge
Street Mission (YSM) to raise funds to help people rise out of
poverty. Through this initiative, rides taken to and from The
Distillery Historic District with Lyft resulted in a donation to
YSM. As well, proceeds from the sale of love locks and onsite
dollars collected from guests will be donated to YSM.
The Guardians of Time by Manfred Kielnhofer
www.torontolightfest.com

www.arc-magazine.com 191
 AD-[EN]-236x333h mm.pdf 1 2017/8/30 14:55:56

CM

MY

CY

CMY

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 Festival

Pics: Dan Paton Radcliffe Observatory by Hoare Lea Museum of the History of Science by Iain Macrae from Wila Lighting

Natural History Museum and Pitt River Museum by Projection Studio Ashmolean Museum by Lux Populi

English Heritage I
n the third event of its kind, designed to showcase
the talents of Society of Light and Lighting (SLL)
members and the lighting community, teams
of lighting designers lit six of the most famous
historical buildings on the University of Oxford campus.

The Society of Light and Lighting transformed Each site had a dedicated team of lighting designers
made of up SLL members, from organisations at
Oxford landmarks for the third Night of the forefront of the lighting industry.
Heritage Light. This year, NoHL took place alongside the Oxford Curiosity
Carnival. The Curiosity Carnival gives members of the public a
chance to find out what research is all about, meet researchers,
ask questions and discover how research affects and changes our
lives. Oxford’s Curiosity Carnival 2017 joined hundreds of other
European cities in celebration European Researcher’s Night.
The concept involved teams of volunteer lighting designers
lending their technical and artistic skills to demonstrate the
creative and technical possibilities in the field of lighting.
Buildings being given the light treatment included the Ashmolean
Museum, Radcliffe Camera, and the Museum of the History of Science
– buildings that are not ordinarily lit. The result demonstrated
the impact of lighting on architecture, transforming the shadowy
presence of these buildings in into assertive, vibrant icons.
Night of Heritage Light was founded in 2015 to showcase the
talents of the Society’s membership and the lighting community
and to celebrate the UNESCO International Year of Light 2015.
The first event of its kind saw teams of lighting designers

www.arc-magazine.com 193
 Festival
Bodleian Library designed by Owen from North Kidlington primary school
shining a ‘new light’ on nine UNESCO
World Heritage sites across the UK.
In order to continue the legacy of NoHL and the
International Year of Light 2015, the Society
held a second Night of Heritage Light in York on
24 October 2016, focusing on two historical sites
within the city centre, St. Leonard’s Hospital
and the Multi-Angular Tower, both situated in
the Museum Gardens. NOHL II was held in the
run up to the annual light festival, Illuminating
York, during which the Society ran an event
with local schools called Pockets of Light.
The second Pockets of Light took place
alongside NoHL and the Oxford Curiosity
Carnival, as SLL President Richard Caple,
Regional Lighting Representative Sonia
Pepperell and SLL Secretary Brendan Keely
delivered lighting workshops to City of Oxford
College, St Gregory the Great secondary
school and North Kidlington primary school,
challenging the students to come up with
their own lighting designs for the quad of
the Bodleian Library. With a winning design
selected from each school, they were then
brought to life by a team of lighting experts.
Richard Caple, President of the SLL, said:
194 www.arc-magazine.com
“The Night of Heritage Light has become
a fixture in the Society’s calendar as a
celebration of what our work is all about, the
art and science of light, and this year’s was
one of the most exciting we’ve seen so far.
Radcliffe Camera by dpa lighting consultants
“We showed a new side to some of the
UK’s most iconic buildings on the Oxford
University campus, allowing the public to
see them in a new way, and really showing
off the power of light to change how we
see the world around us. We also saw some
top lighting designers showing off their
best work, which I hope showed people
what our profession is all about.”
The event prominently featured local lighting
companies and designers including dpa
lighting consultants, Hoare Lea and LuxPopuli,
as well as design themes focused around
the history and function of the buildings
that were featured. Combining their love of
light and art, design teams showcased the
practical applications of lighting and how
it can improve and enhance architecture.
www.cibse.org/society-of-light-and-lighting
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 Where Do We
Go From Here?
Using a creative blend of lighting and robotics, Jason Bruges
Studio’s latest installation wowed audiences in December
last year, as part of Hull UK City of Culture 2017.
J
ason Bruges Studio’s latest kinetic
installation, Where Do We Go From
Here?, opened in Hull at the beginning
of December, and is the last major art
commission of the year for Hull UK City of Culture 2017.
The striking multi-site installation in Hull’s Old Town
features specially designed structures, some reaching
more than six metres high. Plinths carry more than
20 large re-purposed industrial robot arms fitted with
light sources, mirrors, prisms and directional speakers.
With the night-time sky and the city’s architecture
as a backdrop, the robots rise, swoop, curl, spin and
reach out, accompanied by specially commissioned
soundscapes, producing a new choreography of
movement, light and sound. As they throw, reflect and
exchange light, the viewer may detect personalities
amongst the machines.
Where Do We Go From Here? takes the viewer to four
different locations, illuminating the familiar, but
also overlooked corners of Hull’s night-time streets,
creating a new urban journey of discovery.
Bruges explained: “I’m interested in how art
and technology combine to generate spectacle,
entertainment and equally stimulate learning and new
ideas. Digital interventions can invigorate our public
spaces and shape how we behave within them. I wanted
196 www.arc-magazine.com
this installation to reflect both Hull’s past, as well as
the transformation it is undergoing to become a leading
centre for both culture and, through green energy,
technological innovation.
“Art has an important role to play as a cultural catalyst
and agent of change. In a world that is increasingly
digital and where the role of robotics is more prominent
in our daily lives, I’m interested in exploring the ways
in which we can use this technology to enhance our
public spaces.”
Through the interaction between light, architecture and
the viewer, Where Do We Go From Here? harks back
to Hull’s heritage as a leading centre for navigation
in Europe, guiding people through the city’s streets,
and encouraging them to rediscover their urban
environment. Bruges continued: “The robots act as
‘beacons’, giving people a way to navigate through the
streets. It’s very much like walking round an urban art
gallery; you can walk through in any order, you can take
as long as you like, stay as long as you like, come on
different days.”
With Where Do We Go From Here? Hull 2017 wants to
start a conversation, about their city and its future,
about society, art, culture and technology. There are
opportunities to join in around Hull’s Old Town, as
well as online, while local artists have been invited to

produce creative responses to the work and to Hull’s
City of Culture year.
Martin Green, Director of Hull UK City of Culture
2017, commented: “A key element of Hull’s year as
UK City of Culture has been the use of technology, to
tell stories and to show the city in new ways. In Where
Do We Go From Here? Jason Bruges has produced a
striking artwork across four locations in the historic
heart of the Old Town. Each has its own atmosphere,
sometimes playful, sometimes ethereal, sometimes
contemplative. As we approach the end of this
incredible year, it takes us into 2018 and as we look
ahead to the future, asks a key question for our times,
one we hope will get people thinking.”
Where Do We Go From Here? ran daily from 1 December
to 7 January 2018 across four sites in Hull’s Old Town:
Beverley Gate, Trinity Square, the gardens at Streetlife
Museum and Wilberforce House.
The first location, Beverley Gate, was home to The
Gatekeepers. Marking the historic entrance to Hull’s
Old Town, the six ‘gatekeeper’ robots were designed to
draw visitors in with light signals close to the waters of
Princes Quay that are also visible from Queen Victoria
Square and Whitefriargate. This installation was
designed specifically for this location, because of its
historical significance.
Taking inspiration from navigation beacons and
maritime signalling devices, the robots are a modern
interpretation of them, which communicate and act as
an entrance to the other installations around the Old
Town.
The second location, Trinity Square, has historically
Festival
been an important public space in Hull’s Old Town and
has recently been extensively redeveloped, enhancing
it as a key destination in the heart of the city.
The nine robots here, forming the installation An
Inquisitive Acquaintance, present a choreographed
performance composed of light and sound, which is
focused at the audience. It is a playful encounter that
encourages the viewer to explore the relationship
between the light and sound, the square’s reflecting
pools and the architecture around it.
In the garden setting of the Streetlife Museum, five
robots awaken from their old factory mode to perform
together and demonstrate intelligence in the third
installation, Collaboration. The robots pass light
beams between each other and form large moving
objects in space.
The final installation, Conversation, is hidden behind
the walls of the enclosed garden at the entrance to
Wilberforce House, where a curious conversation
between a robot and Wilberforce plays out. Peeking
through the gate, or catching glimpses of the robot
revealing itself above the wall, the audience can
observe the gestural animation that is created through
light and shadow. At a site of historical significance,
to Hull and the nation, this reflective piece asks the
question: Where do we go from here?
Where Do We Go from Here? helped kick off Substance,
a series of events, installations and provocations that
took place in the first week of December celebrating
and reflecting on Hull and the North as a cultural
powerhouse for the nation.
www.jasonbruges.com
www.arc-magazine.com 197
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Pics: Don Slater
Smart Lighting
Using modern lighting solutions and cultural localised influences, the
Nighttime Design team have put together an innovative and engaging
solution to urban illumination.
B
ased in the dark streets of Columbia,
a research project was developed
to look at the innovative ways to
improve street lighting and the
overall nighttime experience in Getseman í, a
UNESCO world-heritage district in Cartagena. This
collaborative team was built up of Arup, the urban
lighting leader Leni Schwendinger, Co-Director of
the Configuring Light research group at the London
School of Economics Don Slater, Universidad Jorge
Tadeo Lozano and Despacio local mobility research
partners, iGuzzini as the technical partner, Findeter
the Development Bank and Citelum with the site
engineering and installation.
As a critical response to the experience on the
streets after dark, changing the environments will
have a ripple effect on residents and businesses
alike. Extended walking hours will have a positive
impact on social interactions after sundown, will
Festival
increase the economy of evening trading through
retail and social offerings and just as importantly,
it will increase the feeling of safety for the local
community and in turn, reduce the crime rates of
the spaces.
Don Slater from LSE observes the impact this
project will have: “Good Nighttime Design is a
knowledgeable response to the needs and the life of
a particular space, based on real social knowledge,
a spatial knowledge and a technical knowledge as
well.”
Working in partnership with Arup, they developed
a project framework and conducted a night tour,
NightSeeing, along with the hands-on community
workshop. This in turn led to the creation of the
sustainability appraisal tool called SPeAR, and is
used for the application to night-time lighting
design.
In order to build bridges and reduce friction
www.arc-magazine.com 199
 Festival
between tourists, residents and commercial
activity, the lighting design aimed to accentuate
the district’s distinct character, blending old and
new together in a symbolic and physical way.
One of the focal points the project based their
inspiration around, was the idea of whether
better lighting would in turn create a better
community. In this particular area the team
worked on, the community struggles with social
upheaval and discord where stakeholders have
conflicting interests. In order to explore this
theme further, the Nighttime Design team
concentrated on local solutions. As a result, the
site-specific workshops and social/technical
research led to the development of a universal
LED lantern, specifically customised to the local
streets of Cartagena.
The two main aims the design team were
working towards achieving were based around
formulating a concept and methodology from
sustainable research and development in the
area. Secondly, it was important to improve
the communal connections and stimulate local
stakeholders’ interest through the use of private
property for public lighting. These stakeholders
200 www.arc-magazine.com
Previous Page Full street view: a
successful prototype-pilot. The
atmosphere is typified by
highly accurate colour-rendering, an
average lighting level which meets
requirements, the nighttime,
streetscape character is defined by
lightning and lanterns, and accented
by sparkle.
Left The universal lanterns were
fabricated by iGuzzini, technical project
partner, and then localised by the
neighborhood community. This one has
been designed by a workshop attendee
to feature the Mariamulata bird, an
important symbol of Caribbean identity.
Below Getsemani - a UNESCO
world-heritage district in Cartagena
(Colombia):
Citizen portrait.
Bottom Architect students from
Universidad Jorge Tadeo Lozano
demonstrate sketch lantern on site.
included local politicians, artists, designers,
cultural organisations and local residents.
During the community based workshop session
in July 2016, ideas and sketches of 3D lanterns
were explored and developed to demonstrate
how a modern and plain idea can be transformed
by cultural influences, values and symbols. With
this brought the interest of local residents and
commercial actors together alike, accentuating
the character of Getsemaní through the modern
lantern prototypes.
A pop-up pilot prototype installation followed
on from the workshop in a commercial street
setting. High on the agenda of discussion was
historical preservation, infrastructure, heritage,
tourism, mobility and visual effect.
Working in partnership with Plane Site, the
project’s findings were captured on video, which
was then produced into a short documentary
illustrating the process, workshop and resulting
prototype pilot.
As a result, the team works hard towards
ensuring Nighttime Design as an emerging
discipline in universal city planning.
www.arup.com
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 Festival

Duet at Kew Gardens

English Country B
righton-based studio ITHACA created a
series of outdoor light installations last
winter, featuring more than 250,000

Gardens
individual lights. Held across five UK
sites, including Kew Gardens, Blenheim Palace and
Birmingham Botanical Gardens, these installations
were commissioned by Culture Creative.
Designed on and around the lake crossing and

Taking to five sites across the UK, ITHACA created
a series of beautiful light installations last winter.
islands, two voices sing out across the water as the
bridge, islands and even the lake waters light up
in response in ITHACA’s Duet, an innovative light
and sound installation that showcases the iconic
curved bridge crossing the five-acre lake at the Royal
Botanic Gardens in Kew, London. The 70-metre
crossing features 990 bronze uprights on granite
sleepers and follows a distinctive ‘S’ curve.
The installation, shown from 21 November to 1
January, had to highlight the bridge, maximise water
reflections, be aesthetically pleasing from all angles
of approach and allow large groups of people to cross
without obstruction. While designing and installing,
ITHACA had to remain mindful of the garden’s daytime
aesthetic and vistas, as well as ensuring that its fixings
didn’t damage the metal uprights on the bridge.
Duet presented an animated light bridge of custom-
made, linear fixtures, with more than 26,000 individually
controlled RGB LEDs. With the fixtures positioned
pointing away from the audience, the perspective
was that of the ethereal, highlighting the illuminated
bronze reflections. Special care was taken animating

www.arc-magazine.com 203
 Festival
Sea of Light at Birmingham Botanical Gardens
Sea of Light at Birmingham Botanical Gardens
the flowing patterns of colour, showcasing
the different perspectives offered by
the architectural curve of the bridge.
On the lake islands, Elation Fuze Par
Z120 units were selected to highlight
trees and shrubs, complemented by 360
small, custom-made and individually-
controlled RGB light spheres, arranged
around the lower branches and bushes at
the water’s edge. The underwater lighting
linking the bridge and islands combined
submersible RGB Par fixtures and 60
kilometres of 0.75mm side-glow fibre
optic light strands, designed to float like
trailing plants and held in place with a
system of fishing weights and floats.
The whole experience was accompanied
by ITHACA’s own music composition
and sound design, bringing together the
distinctive areas into one immersive
audio-visual experience. A deliberately
cinematic soundtrack helped to create a
magical atmosphere within the natural
outdoors setting, utilising the designers’
own twenty-two speaker surround setup.
Chris Evans-Roberts, Founder and
Creative Director, ITHACA, said:
204 www.arc-magazine.com
Sea of Light at Blenheim Palace
“With Duet our aim was to create an
installation that really celebrated the
unique natural and built environment
of the lake and the bridge at Kew.
“Our work is often driven heavily by
concept as well as pure aesthetics and in
this case we wanted to create the feeling
of two illuminated voices singing out
to each other across the water, and in
turn the water and central environment
coming alive with light, while keeping the
surroundings extremely clean and natural.
“The response was hugely positive,
with around 300,000 visitors,
some fantastic feedback and many
requests for the soundtrack.”
Elsewhere, ITHACA created an installation
at Blenheim Palace, Oxfordshire, entitled
Sea of Light, which ran from 24 November
to 1 January. Here, ITHACA created a pixel-
mapped field of more than 8,000 50mm
spheres, using a bespoke Art-Net system
to seamlessly link the hillside display with
two 20-metre high ‘singing’ trees, which
were dressed with 500-metre spirals of
ITHACA’s own addressable LED strip.
ITHACA also took the Sea of Light to the
Birmingham Botanical Gardens from 29
November to 1 January, where 8,160 lights
arranged on the garden lawns synchronised
with 1,200 metres of addressable LED
strip covering the framework of the listed
Victorian aviary to create a magical display.
Andrew Rae, Lighting Designer at ITHACA,
said: “Our creative vision for Christmas at
Blenheim and Birmingham was to create
an animated audio-visual light installation
that both complemented and accentuated
the natural and unique landscapes and
architecture of both locations respectively.
“The use of pixel-mapping technology
gave us the ultimate flexibility and creative
freedom required to achieve this vision
whilst also retaining that all important
Christmas theme. With Christmas in mind,
we set out to ensure the installation was
very accessible, in other words; light hearted
and family friendly for maximum impact.
“We’re very happy with the outcome,
especially considering the sheer scale of
both installations, covering approximately
2,000-2,500sqm at each site.”
www.ithaca.studio
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Light Art
The third edition of the LewesLight Festival has proven to be
another success, bringing together light, poetry and performance.
The focus of this year’s event covers the history of the town
through commerce, trade and industry. Festival Director Graham
Festenstein tells us more about this year’s event.

L
ast October, LewesLight returned for its third year,
celebrating light, history and culture throughout the
quaint streets of the East Sussex town of Lewes.
As a festival that brings together not just lighting
installations but also poetry, performance and music, it provides
an eclectic mix that catered for all spectators.
For the festival, Lewes was transformed with installations
inspired by the historic context of the town, which contributes to
a narrative about the town and its people.
Last year’s efforts saw the demographic of the event shift,
with many young families out on the streets, enjoying the
installations and atmosphere. Graham Festenstein, the Founder
and Artistic Director of the festival, explains: “We can deliver
much more by way of story telling, to engage a wider audience,
particularly younger people, in a stimulating and exciting way.
Lewes is compact and walkable, and lends itself to a sometimes
dramatic and sometimes contemplative illuminated trail.”
Not only does the festival bring the town obvious benefits
through tourism, it is also highly beneficial to the local younger
generations. As Festenstein explains: “Over 50 current students
from Sussex Downs College took part this year as well as ex-
students starting out on their careers. They were joined by
undergraduates from the University of Brighton, and students
from Northbrook College, Worthing and Plumpton College.”

206 www.arc-magazine.com
 Festival

Opposite Page Top Left Church of St Thomas a Becket

- Designed by architectural lighting designer Karen
van Creveld, coloured lighting references ideas of
rememberance and provision for those outcast by society,
the modern-day equivalent of medieval lepers. Lighting
includes backlighting of the stained glass windows,
projections onto the external walls and candle light at
ground level. Yellow lighting and candle light is used to
represent the yellow symbols the lepers were branded with
on their clothing, along with the sticks with bells on they
were obliged to carry. The installation is paired with the
sound of ringing bells and a poem by John Agard.
Top Right Broom to Brunch - Touching on the British cultural
past of growing fresh produce, this installation illuminates
a lush market garden with an abundance of fresh flowers.
This installation sees the collaborative work of Ellie Coombs
from Nulty, who grew up close to Lewes, and of Claire
Hamill, of Isometrix.
Bottom Through the Window - Inspired by Peter Messer’s
painting Wonderland, this projection at Lewes House,
produced by Peter ‘Art’ Lewry and Jack Beccegato, takes the
artist’s work out of the gallery, to display it in an entirely
different and wholly appropriate setting.
This Page Top Studio Fractal combined light, UV, video
projection, colour, craft and sound for an installation at
North Court and Malcom Rose’s workshop, which takes
inspiration from Rose’s harpsichord workshop. Fading
in and out is the sound of Elizabethan Keyboard music
by James Johnstone, on a copy by Malcolm Rose of the
Harpsichord by Lodewyk Theewes 1579. UV activating tape
frames the architectural elements, whilst sound waves can
be seen through the glass of the building.
Bottom A Matter of Exchange - London-based artist and
designer Jack Wates produced an animated light installation
at the heart of the Market Tower that would characterise
it as a place of exchange. The animation of light intensity
is symbolic of the exchanges of money, resources and
conversation in the marketplace.

The theme for the 2017 festival was Trade, Industry and Commerce,
with installations inspired by the town, encompassing and
celebrating stories from history including the iron works and
foundries, the river, the railway, harpsichord making, resident art
and jewellery collectors, the market garden and the English civil
war.
Local historians led guided walks across the more than 20 different
installations that took over the town, and while each site hosted a
specially commissioned illumination, some were enhanced further
with performances from acclaimed poet John Agard, Ruth Kerr,
composer, singer and director of the Lewes women’s Chamber
Choir and the Paddock Singers.
This festival provided designers with a platform to develop their
personal profiles, highlight their practices and demonstrate the
importance of lighting in a public space, showing how it can be used
as a promotional tool to advertise the town and encourage tourism,
bringing business to local establishments; all of which forms the
foundations for lighting strategies in many developed towns or
cities.
The festival featured work from the likes of Jack Wates, Guyan
Porter, Chris Beasley of Integrated Light, Susan lake Lighting
Design, Ellie Combs of Nulty with Claire Hamill, Ruth Maskell,
Karen van Creveld and Studio Fractal, alongside a number of
student and community contributors.
Alongside the numerous lighting installations and artistic
performances, the event also ran a short program of talks from
notable lighting designers. Colin Ball delivered a lecture titled
‘Archetypes of Night’, which delves into aspects of current physics
transforming our relationship with the night sky as powerfully as
modern lighting is removing it.
The event was, as always, entirely dependant on the support it
receives from the Town and District Councils, local sponsors and
industry supporters such as Architainment, Commercial Lighting
Systems and Meyer, iGuzzini, LED Linear, Light Projects and Rosco.
www.leweslight.co.uk

www.arc-magazine.com 207
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Making Waves
Each winter, Lightwaves comes to MediaCityUK in Salford Quays
with a handful of light installations from varied collaborations to
brighten the water’s edges during the cold, dark months.
T
he annual event Lightwaves returned to
the shores of Salford Quays again this
last winter, brightening the dark months
in and around MediaCityUK. Known as
the biggest digital light festival in the UK, the event
showcases and eclectic mix of digital art installations
in public spaces for ten days in early December.
Each year brings with it new and exclusive artworks
alongside emerging talents and workshops from
local, national and international artists. This year saw
twelve light experiences span across Salford Quays
that are free to the public, between the plaza and the
Lowry Theatre.
Jackie Kay, renowned Scottish poet and Chancellor
for the University of Salford, produced a large scale,
commissioned neon word sign in collaboration with
Soup Collective and specifically for Quays Culture. The
neon sign titled I Forgot stretched fifteen metres wide
and provided an interactive platform for audiences
to engage. The full installation reveals the words
‘I Forgot To Say’, with the ‘To Say’ element only
illuminated when a message is left that is inspired by
thoughts that epitomise a moment in 2017. A phone
number was left alongside the installation where
passers-by could call from their mobile and leave
their ‘I Forgot To Say’ message, and thus intensify and
change the colour of the ‘To Say’ section of the piece.
In accompaniment to this installation, Kay also wrote
Festival
a new poem, which she delivered on the opening
night of the event.
The HYDROZOME, by Tom Dekyvere, is a pattern
of illuminated rope meshed together in a web of
creativity, bringing to life the (dis) connections made
between people, as a physical reflection of today’s
society and how we are all interwoven. The artwork
also posed an interactive element. A microphone was
placed under the River Irwell to capture the sounds
underneath the surface, translating them from
soundwaves into lightwaves.
Exploring the boundaries between nature and
technology throughout his installation, Dekyvere
illustrated the togetherness and collaboration
through the metaphoric symbols of sound and vision.
DUET is the third installation that made its debut in
Salford Quays. Quays Culture teamed up with Invisible
Flock again after their successful collaboration in
co-commissioning the DUET-app. As part of a social
experiment, users of the app were anonymously
connected with other participants across the world. In
this particular instance, the app anonymously paired
people from Greater Manchester and India and invited
them to exchange details about their daily lives by
answering one question a day. These connections
were then presented as public artwork through the
capturing of glimpses of the evolving relationships
showing the differences and similarities of the
www.arc-magazine.com 209
 Festival
thousands of conversations.
In partnership with Light Night Leeds, Quays
Culture has brought the SHINE programme back to
the Quays for a second time, presenting emerging
artists through four new pieces of artwork. Brink
Dance Company and Howl Creative produced the
first piece in a collaborative installation of live dance
performance and projection of digital and physical
worlds.
Symbiosis is the second immersive and interactive
piece produced by Kira Zhigalina. It visualises human
breathing inside a digital dome, where sensors detect
audiences breathing patterns and convert them
digitally into LEDs.
Storyteller #2 by Naifei Wu is the third installation
made up of encoded robots that interacted with
audiences and told local stories of people from
Salford.
Part video game, part musical instrument, Will Hurt
produced the fourth edition to the SHINE programme.
Abstract Playground AP4 allowed audiences to
reconfigure an iconic building from the Salford Quays
skyline and manipulate geometric designs to create
their own digital version of the physical form.
Once again, Blackpool Illuminations paired up with
Quays Culture to showcase a curated exhibition of
Blackpool Illuminations’ much-loved light collection.
This included popular characters, such as Pirate
Tableu, who was located along the water’s edge
and Sooty and Sweep and Star Trek faces along the
footpath leading into the heart of the Blue Peter
Garden in Media City.
Return by popular demand from last year’s successful
Light Graffiti Workshop, Sarah Wakeford brought
a creative session for all ages, whether in groups or
210 www.arc-magazine.com
solo participants. The interactive workshop allows Previous page ‘I Forgot To
Say’ neon word signage
participants to create digital art through light graffiti, shows the colour and intesity
difference when a participant
which could then be downloaded and taken away with sends in their ‘To Say’
them. message via the telephone
line.
Lightwaves continued to run between the eighth Left Neon green webbed
rope inter-twines the map
and seventeenth December 2017, with visitors of emotions as a physical
representation of today’s
being able to view the eight artworks as part of the society.
humansbeingdigital exhibition in the Lowry galleries. Top Inside the dome that
mimics the audience’s
Jennifer Taylor, Programme Manager at Quays breathing through a digital
sensor, that is then projected
Culture commented: “Lightwaves 2017 was a great into LED lights, filling the
dome space in colour.
success and we were delighted by the audience Bottom The scene of
response. This time, we were able present two the Pirate Tableau from
Blackpool Illuminations lines
large-scale new commissions following on from one the shoreline of the Quays
and brightens the pathway
the year previously. We also increased the number between the Lowry Theatre
and MediaCityUK.
of new SHINE commissions from three to four – a
programme that supports emerging artists in the
early stages of their careers. The digital complexity
of many of the artworks combined with the outdoor
wintery conditions is not without it’s challenges for
both us and the artists, but ultimately that’s what
makes the work so exciting. We’ve continued to
work closely with our Light Up The North partners,
strengthening those partnerships with continued
support from funders and collaborators. This year,
we were thrilled to be listed in The Observer’s Top 5
UK Winter Light Festivals. This coming year, we’re
delighted to be working with an international partner
in Montreal – producers of Quartier Des Spectacles
– to jointly commission a major new artwork. We
also continue to be excited by contributing to the
development of artists and artworks in the public
realm, and see Salford Quays as a natural home for
this type of experimentation that connects audiences
to the very best in immersive contemporary art.”
www.quaysculture.com
 CASE STUDY
Oriental Treasures
A new temple complex has recently been opened in the traditional
pilgrimage location of Nanjing in China. The central hall, with a priceless
relic of the Buddha Shakyamuni, radiates in light from Erco.
egends saying that at one time
L
Buddhas met together on the Niushou
Mountain in Eastern China. Over the
centuries many Buddhist buildings
were constructed here, including recently a palace
whose main attraction is a piece of skull bone that
believers worship as a relic of Buddha Shakyamuni.
As a consequence the palace was named after the
characteristic elevation on the back of the head
of Buddhas that represents wisdom, known in
Sanskrit as ‘Usnisa’.
The Usnisa Palace, with its two domes, can be
seen from afar; approximately 220-metres long,
160-metres wide and 90-metres high, with three
storeys above ground and six storeys below. The
Thousand Buddha Hall is situated in the centre of
the complex, with an elliptical base and a dome
above reaching 28-metres high.
A monumental memorial is situated in the centre,
surrounded by Buddha representations. The
complex ornamentation in strong yellow, red and
gold tones is akin to the design tradition of the
famous Bao’en Temple, constructed in the 15th
century in Nanjing during the Ming Dynasty. The
Ten Thousand Buddha Corridor surrounds the
Thousand Buddha Hall, and contains exhibitions
focusing on the Indian and Chinese history
of Buddhism and the life and relics of Buddha
Shakyamuni. The Usnisa relic is located in its own
room: the Usnisa Worshipping Palace. Here it lies
within a memorial that, due to its open structure,
enables the relic to be seen from outside.
The Usnisa Palace is illuminated with Erco LED
lighting tools. Interior designers from Hyee Design
212 www.arc-magazine.com
HKG, together with lighting designers from ATL
Lighting design ensured that the light supports the
meditative atmosphere of the space. They specified
warm white light with 3000K that brilliantly
emphasises the warm colour tones of the artworks,
while strong accents guide the attention of visitors
to the Buddha representations.
The light is aligned precisely onto the target planes
to avoid glare for observers despite the glossy
surfaces. The luminaires installed on the high
ceilings not only provide high lumen output, but
are also controllable via DALI and largely free of
maintenance. Furthermore, the light sources are
as far as possible concealed from view and lend the
impression that the space illuminates from within.
Thanks to their compact and discreet design, the
luminaires are hardly noticed, placing a focus on
the light impact itself. Erco Parscan spotlights with
48W and 5040lm were mainly installed with spot,
flood and wide flood light distributions. XS floor
washlights and Nadir recessed floor luminaires
from Erco communicate a feeling of safety and
security to visitors without detracting from the
religious character of the representations.
The relic is illuminated with Grasshopper
projectors and the interior of the memorial
with Beamer projectors from Erco. To install the
lighting tools to the base of the memorial and
for reasons of space, outdoor luminaires were
specified. Luminaire families can be ideally
combined because of the same high LED quality
used throughout all Erco product ranges.
www.erco.com
 CASE STUDY

Gas and Air

New lighting from CLS partner Fairlight BV has given Gashouder, located in
Amsterdam’s Westergasfabriek factory, a new lease of life, transforming
the former gas holder into a stunning venue for exhibitions and live shows.

T
he Westergasfabriek is a former gas
factory located in Amsterdam’s West
district, a beautiful green oasis with
various striking industrial buildings.
At the beginning of the 21st century the site
underwent a complete redevelopment and the new
Westergasfabriek has since been in use as a venue
for cultural and recreational activities.
CLS partner Fairlight recently installed new
lighting in one of the buildings, which is
named after its former function: the Gashouder
(Gasholder). The building is now a frequent venue
for exhibitions, large-scale presentations, live
shows and dance events.
On the outside of the building the RGBA version
of CLS Revo Direct DMX has been installed. The
Revo RGBA serves as an uplighter to illuminate
the building with splendid colours. The Revo is an
extremely compact fixture of 17.5 x 10 x 10cm, with
a power consumption of only 20 watts. The high
effective light output meant that just 60 fixtures
proved to be sufficient to illuminate the upper side
of the vast complex.
In addition to the colour changing Revo fixtures,
40 CLS Revo Compact 3000K units were installed
as downlight fixtures. The exterior lighting
has a calendar-based system for switching the
illumination on and off, providing a perfect
experience in all seasons.
The striking industrial dome, without pillars, on
the inside of the building is illuminated with CLS
Ares fixtures. CLS Lina Clip HP fixtures replaced
the fluorescent tubes that previously illuminated
the space. The Lina Clip is dual purpose,
functioning both as effect light and as work light.
The installation of LED lighting is part of the
Westergasfabriek’s large innovation project, which
aims to make the buildings and outside areas more
environmentally sustainable where possible.
www.cls-led.com

214 www.arc-magazine.com
 CASE STUDY
Neutral Colours
for Benetton
Megaman’s LEDs were specified for global
fashion brand United Colors of Benetton new
store in Northern Ireland’s town of Ballymena.
T
he manufacturer of high-performance,
low energy lighting provided a
solution that was energy efficient,
low maintenance, maximised the
aesthetics of the store and provided a consistent,
bright quality of light that enhanced the
appearance of the merchandise.
Benetton is known for its vibrant, colourful
clothes, so the owner of the store required a
space that was bright and would entice the
customer inside. A former post office in the large
town of Ballymena in County Antrim, provided
the necessary 3,000 square feet that could be
transformed into retail space.
The 1950s two-storey building was stripped out
and a large glazed panel employed on the front
elevation to draw in daylight. The ground floor
was refurbished to create a modern, light and airy
space for the display of Benetton’s women’s and
children’s clothes while the first floor was used as
a store.
Creating a bright interior was key to the overall
concept. It was considered that Megaman’s Zeki
multi-head gimbal luminaires together with other
specified products, would meet the challenge of
creating an even and bright distribution of light.
Michael Williams, Director of Williams Creative
Design Architects, designer of the Benetton store
said: “Given that there are no windows in the
shop apart from the glazed façade, we didn’t want
customers to feel as if they were walking into a
cavernous space. The Zeki LEDs create a consistent
quality of light with no changes in light levels,
which is exactly what we wanted.”
Megaman’s Zeki luminaire was also the first choice
for the Benetton shop due to its modular frame
and multi-directional tilting, which lends itself to
216 www.arc-magazine.com
easy adjustment. 56, one head frame 10.5W Zeki
luminaires were specified and installed in the
suspended ceiling throughout the store.
Paul Howie, Director of T&E Howie, lighting
designer and supplier said: “We recommended the
Zeki luminaires because the combination of its high
lumen and tilted design meant that it was ideal for
this project and gave the client lots of flexibility. If
the client wants to move display stands around the
retail space all he has to do is move the downlight
and position it to illuminate the clothes. We’ve
used Megaman products for many projects and we
particularly like their robustness and high quality.
Also, the technical backup that Megaman provides
is really supportive.”
The Zeki luminaire was also a popular choice due to
its unobtrusive design.
Michael Williams stated: “I like the discreetness
of the Zeki lighting, which is very subtle. The
spotlights have been twisted to focus on wall
displays and draw attention to the merchandise. I
didn’t want the lighting to take the customer’s eye
away from the clothes. It has been a very successful
project.”
According to Paul Howie, the client had never used
LEDs before, but was easily convinced due to the
combination of minimal maintenance, low running
costs, a five-year warranty and the environmental
benefits of LED technology.
“It was a no brainer for the client to use the
Megaman Zeki product. He has been so happy with
the result that he plans to use the Zeki luminaire
for background lighting on two further Benetton
stores in Northern Ireland that are currently at
concept stage.”
www.megamanuk.com
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 Urban Lighting
Zumtobel, alongside Graft Architects, transformed the traditional
Gründerzeit building of Berlin’s Urban Nation Museum into a celebration
of modern art as part of a new, modular design for the museum.
F
açades become screens, a courtyard doubles as
a temporary exhibition space, workshops and
events fuel a creative dialogue: The concept
behind the Urban Nation Museum For Urban
Contemporary Art in Berlin intrigues and excites with its
fusion of diverse art forms and truly unique architecture.
Exhibition rooms, a courtyard and an innovative
interchangeable façade were created for the modular-
designed museum in line with plans drawn up by Graft
architecture studio.
A clear prerequisite for the success of the project is the
holistic interplay between architecture, art and light. With
this careful balance in mind, a differentiated lighting
solution from Zumtobel has now been realised throughout
the museum.
The Urban Nation Museum presents contemporary urban art
crafted by a series of national and international artists. The
impressive new venue has been shaped by architects from
the Graft studio, who pooled their resources to transform
a former residential and commercial building from the
Gründerzeit period in the Berlin district of Schöneberg.
The result is an all-embracing centre for urban
contemporary art and a creative setting for artists, offering
space for exhibitions, workshops, debates, cross-media
work and archiving. The implementation of the plans
218 www.arc-magazine.com
formulated by the Graft architecture studio demanded a
client-oriented lighting solution to help maximise the
effectiveness of the overall concept. Zumtobel immediately
impressed by meeting the needs of the architects from Graft
and simultaneously tailoring its offer to fulfil the specific
requirements of the museum.
Urban Nation is an initiative from the Berliner Leben
foundation (Berlin life), founded in 2013 by the Gewobag
housing association. Urban Nation has already worked
with artists from all over the world, and the museum has
gained increasing prominence by providing a stage for
urban art that shines on an international scale, acting as a
mouthpiece for urban contemporary art and simultaneously
making this art form accessible to visitors and residents.
This was evident at the official opening, when the museum
hosted a two-day festival to stimulate a public discourse
between the city, artists, residents and passers by.
Graft used the reconstruction of the interior to translate
the 19th-century architecture into 21st-century design.
Suites of rooms, the likes of which can normally be found
in fine baroque palaces, create a real sense of space. At the
same time, the rooms themselves stretch upwards over
two storeys, leading to unexpectedly generous levels of
spatial perception and offering a vast range of possibilities
in terms of artistic expression. A defined route connects all

the exhibition areas, helping visitors see and experience the
fascinating works from various distances. The exhibition
rooms feature Supersystem II mounted horizontally at the
side of the route. Standard versions of the Maxi spotlight
(with DALI control) are combined with a trimless profile,
delivering the additional flexible lighting solution that was
requested by both the architect and the owner.
Zumtobel used the lighting solution for the multi-storey
rooms to place a strong focus on the uniform illumination
of the walls in the exhibition spaces, while at the same
time including the option to set effective lighting accents.
This is achieved with the help of the Intro ceiling luminaire
family. Extensive adjustment options mean that Intro
can be adapted to suit the different forms of architecture
and thereby provide high-quality, tailored and efficient
light throughout the rooms. Intro liteCarve, a spotlight
for vertical surfaces, and Intro M, an LED accent spotlight
with a high light output, both play a major role here. The
liteCarve reflector technology developed by Zumtobel
facilitates the homogeneous and effective illumination of
niches and walls, along with a precise and balanced right-
angled light distribution, while the reflector itself makes
sure that the light is directed accurately and fully indirectly
onto the vertical exhibition areas.
The modular and partially interchangeable façade developed
CASE STUDY
by Graft serves as a creative canvas for artists. When the
exhibition changes, these customised exterior elements
become extra exhibits in the museum’s collection. The
shifting façade is impressively showcased by vertical
illumination from Blade Max, a flexible linear lighting
system developed by acdc. Coloured RGBW fittings add a
special character to the window apertures on the fourth
floor.
In addition to the actual exhibition, visitors have the
chance to appreciate numerous art installations even before
they step inside, as the courtyard of the Urban Nation
Museum doubles as an event venue and presentation space
for contemporary sculptures. The harmonious solution
from Zumtobel offers flexible lighting for the changing
compositions. Floor-recessed Magna luminaires from acdc
and Supersystem outdoor Accent, a product from Zumtobel
that incorporates three swivel-mounted LED tubes,
combine to create the perfect lighting conditions in the
courtyard.
When it comes to lighting management, the Litecom system
from Zumtobel Group Services (ZGS) regulates the complete
installation and offers simple and flexible lighting control
for the whole Urban Nation building.
www.zumtobel.com
www.arc-magazine.com
219
 CASE STUDY
Lighting the Way
Lighting specialist Cardi and Finnish luminaire maker Lival illuminated
Åhléns City department store in Central Stockholm, Sweden, using
Citizen’s CRI>90 3500K B.BBL.
F
ounded in 1945, Lival is a Finnish family
business that started out making its
first products out of the wood gathered
from its own forest. Lival has always
brought an innovative and brave approach to
lighting, beginning in the world of interior design
with bright lamps and impressive chandeliers – first
steps that revealed a company already on the hunt
for cutting-edge ideas.
In 1981, Lival was the first company to introduce
a PL compact fluorescent fixture. Then, in 1994,
Lival introduced ceramic HID technology, before
producing its first luminaire with COB LED in 2010,
a technology that still serves well to this day. Over
the years, the company has also become one of the
leading chip on board Citizen COB LED luminaire
manufacturers.
Citizen’s latest LED technology gave Åhléns City
department store in central Stockholm a new touch.
Now toys, clothes and interior design are presented
in a more appealing way thanks to a proper light, as
220 www.arc-magazine.com
the characteristics of the COBs combined with the
Lival luminaires make the bright colours pop and
give fresh and clean overall impression.
Finding the right light, that fits perfectly to the
scene is no walk in the park and after numerous
test runs on different COBs, including Ver. 6 CRI>90
3000K B.BBL, 3500K B.BBL and 4000K, Åhléns City
chose to use the 3500K B.BBL Citizen COB along with
Lival’s Lean DL, Trigger Cylinder, Lean Cylinder and
Aspect series.
The 3500K B.BBL is an excellent choice for
highlighting a wide range of different colours. For
the purpose of Åhléns City, the 4000K version was
too cold, while the 3000K B.BBL version was a bit
yellowish. As for choosing the right luminaires,
Lival’s experience proved to be helpful. Lean DL,
Trigger Cylinder, Lean Cylinder and Aspect are
just the tip of the iceberg in Lival’s eco-system of
lighting.
www.lival.com
ce.citizen.co.jp
 C

CM

MY

CY

CMY

K
 Pic:s: Nicolas Cardin
Rediscover the Colour
Linea Light Group has provided lighting for the Medieval and Renaissance
areas of Paris’ Museum of Decorative Arts, bringing colour back to the
artefacts on show.
I
n creating the lighting scheme for the
Medieval and Renaissance areas of the
Musée des Arts Décoratifs (Museum of
the Decorative Arts), lighting designer
Emmanuel Clair of the Light Cibles studio turned
to Linea Light Group to illuminate the delicate
artefacts on display.
Located inside the Louvre’s Palace, the Museum
of the Decorative Arts is the sixth most visited
museum of France and one of the most important
in the world. Founded in the nineteenth century,
it houses thousands of collectors’ objects and
artworks, offering a complete overview of arts from
the Middle Ages to the 21st Century, ranging from
toys to jewels, ceramics to furniture. The section
devoted to the Middle Ages and the Renaissance
is full of remarkable altarpieces, everyday objects,
16th-century glass walls, religious paintings and
beautiful tapestries.
The new lighting scheme had to respond to specific
requests of the customer, with the main aim
of rediscovering and showcasing the authentic
222 www.arc-magazine.com
colours of the works, adopting modern lighting
technologies in tune with the museum spaces.
Solutions were created that involve the visual
experience of the public, while highlighting the
features of each work and the characteristics of the
setting. The fascinating challenge was to illuminate
decorative objects from different dimensions and
finishings within a space that needs a suitable light
for the visitor’s enjoyment.
The need to adapt to pre-existing structures
required custom solutions without replacements,
thanks to devices specifically optimised to follow
needs. Solutions aimed to emphasise the spiritual
value of colours according to the expressive
sensibility of the artist itself, rediscovering the
artistic meaning of the original chromatism.
The project makes use of Iris T fittings with new
UltraHD diodes that, developed in conjunction
with Cree, are able to retrieve every colour range
with a fidelity reproduction almost equal to
that guaranteed by the natural light source par
excellence: the Sun.
 CASE STUDY

The exhibition rooms are fitted with adjustable optics

luminaires that, alongside moulded Vektor fittings,
create a suffused, staged lighting in which the light
beam is focussed only where needed on the artwork,
becoming progressively softer towards the borders
and the frames. As a result, the paintings emerge from
the shaded walls as if lit from within. The large glass
display cases showcasing statuettes and artefacts in
ceramic and glass have had Reika fittings installed.
These linear profiles with asymmetrical optics
illuminate the objects placed on the shelves without
dazzling the viewers, and are dimmed individually to
provide adequate light based to the size of the display.
The decorative glass panes located in front of the
room windows are illuminated by Xenia fittings,
which at sunset replace natural light, illuminating the
stained-glass windows for visitors in the evening.
Old halogen devices have been replaced by LED
technologies, which contribute to reducing
consumptions for a fundamental energy saving
operation.
www.linealight.com

www.arc-magazine.com 223
 CASE STUDY
Lighting Al Fresco
Gewiss brought its Urban [03] environmentally friendly lighting system to
Milan, illuminating its CityLife district park and offering up high energy savings
in the process.
S
panning an area of 168,000sqm, the
CityLife district park is the third largest
green area in north-western Milan after
Parco Sempione and Giardini Pubblici.
An international competition to design the district’s
park, launched by the Municipality of Milan and
CityLife, was attended by 70 world-class architectural
design studios. The main objective was to transform
this space into a prestigious public area for the entire
city to enjoy, while keeping a meaningful link with
the territory and the environment.
The park serves as a symbolic element representing a
sense of connection, deeply integrated with the city’s
history. Safe and accessible to all, it is also a space
that respects the environment and is in tune with the
surroundings.
The project, carried out by London-based architects
Gustafson Porter, gave birth to a microcosm around
the “Tre Torri” (three towers) area of CityLife
district. Between the mountains and the plains,
the park reproduces the key features of Milan
landscape and surroundings, while fully meeting
all customer’s requirements, including lighting.
Indeed, the architectural design initiative called for
the development of a lighting project able to meet a
number of fundamental needs of this venture, in line
with the sustainable philosophy of CityLife district.
224 www.arc-magazine.com
This lighting project aimed to provide inhabitants and
visitors of the area with a feeling of safety and public
enjoyment free from fear, promoting park life even
in the evening. In terms of technical requirements,
guaranteeing high energy savings and reducing
environmental impact were the main goals.
Ferrara Palladino lighting design studio in Milan, in
charge of the project’s implementation, selected the
Gewiss Urban [03] LED lighting system, because of
the wide range of fixing accessories and light sources
of this product line, that satisfies many different
lighting requirements for public and green spaces.
85 Urban [03] devices were installed along all
pedestrian pathways, both in the outdoor area
reserved to CityLife housing and in the public park.
Characterised by a simple, pure design, the Urban [03]
lighting blends seamlessly into the architecture of
the park, enhancing its aesthetic appeal. The system,
which is equipped with a bi-power device to regulate
the luminous flux during the darkest hours, enables
energy savings of 50-percent. It also complies with
all requirements in terms of power and resistance to
overvoltage surges, with an IP66 degree of protection.
Furthermore, the LED light sources have a lifespan
of more than 50,000 hours, with a 3500K (CRI> 85)
colour temperature.
www.gewiss.com
 MicroManage Designs with Tokistar's
M CRO SERIES

Sleek and discreet

lighting solutions
fit in the palm
of your hand

Visit us at
light+building Anaheim, CA, USA
www.tokistar.com
Frankfurt, Germany
Hall 4.2 / Stand K15
2018 March 18-23 TOKISTAR ® Tokyo, Japan
www.toki.co.jp

MondoArc22.indd 1 2/8/18 2:14 PM

 CASE STUDY
Paris Mon Amour
Building on the know-how acquired over the years in the field of
lighting works of art, Targetti was selected to light the 27 side
chapels in the majestic Notre-Dame Cathedral in Paris.
A
s part of a project to renovate
the internal lighting in the
historic Notre-Dame Cathedral
in Paris, which started back in
2011 as part of events to celebrate its 850
years, Targetti, in collaboration with lighting
designer Armand Zadikian, has developed a
lighting scheme to illuminate the cathedral’s
27 side chapels. This is familiar territory for
Targetti, given that 20 years ago they lit up
the external doors of the iconic landmark.
With an aim to enhance and preserve the
historical and artistic heritage on display
inside the Cathedral, the side chapels are
now fitted with new lighting designed by
Targetti and selected by Armand Zadikian to
welcome the millions of visitors that cross
its threshold, while ensuring excellent levels
of lighting and luminance ratios for the
television cameras that transmit mass every
week from the cathedral.
“The original lighting that was installed
years ago was no longer suitable for current
expectations and needs,” explained
Zadikian. “The use of out-dated and
miscellaneous materials, together with a
lack of light made it difficult to see the works
on display and the lighting was too low for
the television cameras to transmit services
regularly inside the cathedral.”
Targetti LED Ledò adjustable projectors were
chosen to light the works of art inside the
chapels. The type of installation is the same
for every chapel and consists of vertical
tracks equipped with black projectors with
an elegant and discreet matte finish. The
result is a highly versatile installation that
makes it possible to vary the position of the
226 www.arc-magazine.com
fixtures along the vertical track and a flexible
optical system – ranging from spot to very
wide flood optics and the possibility to dim
individual fixtures according to needs. The
high quality LED lamps the Ledò projectors
are fitted with have excellent colour
rendering and protect the paintings from the
risks of photo-damage.
“I was familiar with the Targetti range and
after careful selection I chose the product
that met the project needs. We needed a
sober and discreet product that could blend
into the architecture of the cathedral without
compromising the historical setting,” added
Zadikian.
100 works of art were lit using the LED
technology in the 96 projectors that were
installed. Maximum power was chosen for all
LED lamps and the lumen output for every
single chapel was set personally by Zadikian.
“In addition to having excellent colour
rendering and clean, precise beams, the main
advantage of Ledò is the possibility to dim
the light intensity. Seeing as all the chapels
are different thanks to the Targetti optics, I
was able to adjust the emission depending on
the works of art to be lit, taking into account
the size, colour and finishes,” he said.
Lighting the chapels inside the Notre-
Dame Cathedral is the beginning of a new
partnership between Targetti and Zadikian,
who was also involved in developing the
lighting systems in the Paris churches of
Saint-Germain-des-Prés and Notre-Dame-
de-Lorette during restoration work on both
of them.
www.targetti.com
 Fitted LED design solutions – for interior and exterior

for business houses and private residences, façades, parcs,

gardens, museums, public spaces, churches, shopping malls,
showrooms, film and television studios, hotels …

above/below: LED-LUC – magnetic MiniSpot

SQUARE S|M
WHEN TECHNIQUE MEETS ART

by TTC Timmler Technology

TTC Timmler Technology GmbH

Christian-Schäfer-Str. 8
D-53881 Flamersheim

T +49 2255 921 200

E info@ado-lights.com

(+34) 93 630 28 00
www.ado-lights.com
info@grupo-mci.com Come and visit us www.led-luc.com
grupo-mci.com HALL 4.1 BOOTH G11 www.ttc-technology.eu
 CASE STUDY

Touch of Glamox
Two of the largest cruise ships in the Color Line fleet have been given a
vibrant, colourful boost, thanks to the installation of LED strip lighting from
Glamox, that help to create a warm and inviting atmosphere for passengers.

G
lamox has helped to add a touch
of colour and glamour to two
Color Line cruise ships, Color
Fantasy and Color Magic, by
supplying AL45 LED strip lighting, which is
installed in the upper deck railings. The two
cruise ships are the largest of their kind in
the world and operate a route between Oslo,
Norway and Kiel in Germany.
Color Line recently completed an upgrade
of the two ships, which included the
installation of more than 1,150-metres of
AL45 LED strips from Glamox in the upper
deck railings of the two vessels. The new
LED strips provide a continuous line of light
under the railings of the promenade deck,
creating a warm, inviting and exclusive
atmosphere for passengers. When viewing
the ships from a distance, it is clear that this
decorative and effective light adds a little
extra touch of luxury to the ships’ design.
In addition, changing to the AL45 also
represents an environmentally-friendly (i.e.
reduced energy consumption) upgrade to
LED lighting.
“We chose the AL45 LED strips because they
have a high IP class, which implies that they
are well suited for the waters and climate
that we operate in,” said superintendent
Per Gunnar Strand at Color Line. According
to Strand, aesthetic qualities were also
important when choosing a new lighting
product.
AL45 LED strips from Glamox are specially
designed and approved for use in marine
applications. Protected to IP68 means the
lighting is suitable for both indoor and
outdoor use. AL45 LED strips can be used as
lighting for ship canopy rails, step lighting,
shop lighting or for decorative colour
lighting indoors and outdoors.
AL45 LED strips are available in different
lengths, colours and light intensity, allowing
decorative illumination of various shapes
across a wide range of marine applications.
AL45 is flexible, providing made-to-measure
LED strips for harsh applications.
In its clear version, AL45 LED strips make
impressive lighting scenarios possible. It can
be fitted quickly and easily with individual
mounting options and is designed for
impressive lighting scenes for decorative
purposes and ambient lighting.
The coloured version of AL45 offers a wide
selection of colours to suit the application,
giving flexibility in design, which is essential
in creating lighting scenarios for several
areas onboard a vessel – for both indoor and
outdoor applications. AL45 LED strips can be
installed into ceilings, walls, floors, steps,
shops and canopy rails.
www.glamox.com

228 www.arc-magazine.com
 CASE STUDY
Cause for celebration
L&L Luce&Light is leading the new outdoor lighting project for the
Vittoriale degli Italiani, allowing visitors to enjoy the architectural
elements of the footpaths both by day and by night.
L
&L Luce&Light has been involved
in a new trail of external lighting
around the hillside estate of the
Vittoriale degli Italiani, erected
by Gabriele d’Annunzio – one of Italy’s most
famous poets – in Gardone Riviera on Lake
Garda.
This new stretch of external lighting,
inaugurated in the summer with a celebration
entitled Un Immenso Desiderio di Festa (a line
taken from one of d’Annunzio’s own poems),
allows visitors to enjoy the architectural
elements and some of the footpaths in the
poet’s estate not only by day but also by night.
This large lighting project concentrates on
the walk that leads from the Prioria (priory),
d’Annunzio’s home and museum, to the MAS
(Museo d’Annunzio Segreto, a museum filled
with d’Annunzio’s personal effects) and the
Puglia cruiser, the evocative relic from the
Great War.
Made possible thanks to an agreement
between the Regione Lombardia e Fondazione
Il Vittoriale degli Italiani, the initiative
enhances the estate’s architectural splendours
while fully respecting its original character. A
significant number of L&L LED projectors and
linear profiles have been installed.
The wall-mounted Neva 1.0 linear profile,
230 www.arc-magazine.com
with a 60mm pitch and 12x40-degree elliptical
optics, was integrated into the existing stone
walls that line the walks, at approximately
30cm from the ground. Neva’s ground-
skimming light picks out the pathway very
atmospherically.
Meanwhile, the same fixture in a different
version, with a 120mm pitch and 45-degree
optics, placed at the base of the arch, together
with the Pivot 1.6 projector, lights the intrados
and picks out the profile of the archways.
Spot 1.6 and 4.1 outdoor projectors are
responsible for lighting the significant
architectural elements along the path. The
former gives a theatrical prominence to the
sculpture of a female figure standing in a
small shrine, through a play of backlighting
between the statue and the semi-circular
background of the niche. The latter is used
to light the avenue that cuts through the
olive trees, thanks to the devices’ ingenious
positioning beneath the benches lining the
way, from which they generate a light that
skims the ground.
Finally, the Siri 1.0 projector lights the
imposing entrance to the Vittoriale and the
visitors’ entrance that leads to the ticket
office.
www.lucelight.com
 value
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Full Page L+B Preview.indd 1 13/12/2017 15:44:05

LEADING THE WAY TO
A CONNECTED FUTURE

CHICAGO, IL USA
McCormick Place

PRE-CONFERENCE
May 6 – 7, 2018

TRADE SHOW & CONFERENCE

May 8 – 10, 2018

LIGHTFAIR.COM

PHOTO CREDITS
© SCOTT FRANCES/OTTO & COURTESY BARNEYS NEW YORK

The Big One
Light+Building 2018 is just around the corner. The show is always a
hotbed for new product launches, so we take a look at just some of the
products that will be on show at the Messe Frankfurt this time around.
arc / darc
Hall 4.1
Foyer/Walkway
Stand FOY12
The last time that Light+Building came to Frankfurt
in 2016, a record-breaking 216,000 visitors from
160 countries graced the Messe Frankfurt, eager
to check out the latest and greatest from the
lighting world. This year’s instalment is no different,
with 2,600 exhibitors all showing off their latest
products and innovations. With that in mind, we’ve
put together this comprehensive preview looking at
just some of the product launches to help you beat
the crowds in Germany.
More importantly though, is the arc stand,
partnering with our sister publication darc, we will
be located on the busy foyer walkway outside hall
4.1, where you’ll be able to pick up extra copies of
the magazine, along with our newly released ILDS
2018, and share your latest news with a member of
the team.
With a new motto of ‘Connected – Secure –
Convenient’, this year’s show will take a closer look
at the key issues of ‘smartification of everyday
life’ and ‘aesthetics and well-being in harmony’,
PRODUCTS
while the industry prepares to present intelligent
and networked solutions and future-oriented
technologies alongside current design trends,
which not only increase economic efficiency of
buildings, but also the comfort, safety and security
of the users.
Alongside this, Light+Building 2018 will feature
an extensive programme of events, from expert
lectures with best-practice examples, special
exhibitions and panel discussions to competitions
and guided tours, there are plenty of opportunities
to gather information, hold discussions and make
new contacts.
Off the trade show floor, the Intersec Forum on
connected security technology will take place
from 19 to 23 March, while the biannual Luminale
festival of light and culture will once again take
place across Frankfurt, providing some light relief
away from the exhibition ground
www.light-building.messefrankfurt.com
www.arc-magazine.com 233
 PRODUCTS
4
2
1
Dyna Drum HO
Acclaim Lighting
Acclaim Lighting will launch the second generation Dyna Drum HO.
With a new chipset and optic system designed from the ground up,
this high power floodlight now features higher energy efficiency,
and features class leading output in both white and quad colour
LED versions. In fact, the white version reaches more than one
million centre candela, while reducing power consumption by 20
percent.
Hall 4.0 K10 • www.acclaimlighting.com
Archiline
2 Linea Light Group
Linea Light Group will present Archiline, the new family featuring
a wide range of linear lighting fixtures with multiple configuration
options that fit every lighting requirement. They can be installed
with recessed mounting with steel or aluminium flange or without
flange or in the wall version. The features that make this family
of products unique and extremely versatile are its wide range of
optics (Narrow Spot, Spot, Medium Flood, Flood, Wall Washer and
Elliptic 20x50-degrees), different lengths and power packs, and the
choice between monochrome versions (warm white and natural
white) and multi-colour RGBW.
Hall 3.1 E91 • www.linealight.com
Skim downlights
3 Erco
Specifically for the needs of today’s dynamic worlds of work, a new,
unique class of lighting tools has been developed in the form of
Skim downlights for track – as flexible as spotlights and as simple
and efficient as downlights. Using the tried-and-trusted LED lens
optics from the Skim range, they feature high levels of visual comfort
optimised according to the application and enable the lighting to be
adapted at any time to changing office structures or layouts.
Hall 3.0 A10-11 • www.erco.com
234 www.arc-magazine.com
5
Brite 2 panels
4 OLEDWorks
Light affects our mood, improves our well-being and enables us
to experience and achieve more. But OLED light does even more.
As OLED light emits no hazardous blue light, it’s the healthiest
light available. Therefore, OLEDWorks invests in your health by
developing state of the art OLED lighting. This is proven by the wide
spectra of OLEDs, and OLEDWorks Brite 2 panels are, according to
the IEC photobiological safety standard, exempt from any risk of
hazards for the human skin and eye.
Hall 4.1 G62 • www.oledworks.com
HD
5 3F Filippi
A new suspended product by the Milan-based studio Park Associati,
designed for offices, this device is made of aluminium and may
provide direct, indirect and direct/indirect 4000k lighting. The
lighting fixture is available with opal or microprismatic diffusers.
The head cap’s diffuser is customisable and allows to instinctively
distinguish the working activities within the same open space. 3F
HD is available also in the recessed and semi-recessed versions and
will be on sale by summer 2018.
Hall 3.1 D60 • www.3f-filippi.com
KURV-Y
6 KKDC
KURV-Y is the new IP67, fully diffused flexible LED lighting strip
from KKDC. With full end to end homogenous diffusion, KURV-Y
is designed to be recessed into curved architectural details and
surface mounted via clips or extruded aluminium channel. Suitable
for interior or exterior applications KURV-Y is available in 2300K,
2700K or 3200K warm white colour hues with 90CRI. 11.3W/m
powered by remote 24V DC PSUs and dimmable via compatible
sub-controllers.
Hall 4.2 H71 • www.kkdc.lighting
Natural & Healthy Light

• Improves the light experience for human health benefits

• Closely matches the spectrum of natural sunlight
• Harmonizes light output with natural circadian rhythms
• Minimizes negative effects of conventional LED light sources

Visit seoulsemicon.com to learn

more about SunLike Series LEDs.
 PRODUCTS

Hance
1 Lamp Lighting
The Hance from Lamp Lighting is an indoor spotlight model for 2
accent lighting, available with luminous packages of approximately
500-2000lm for 48V powered and 1000-4000lm for 220v powered,
with warm and neutral colour temperature and Super Spot, Spot
and Medium Flood optics. Its unique body is made of lacquered
aluminium injection, with finishes in texture white and black.
Hall 3.1 C61 • www.lamp.es

Void
2 Astro Lighting
Discreet and minimal in design, Void offers a comprehensive variety
of trimless downlights that blend into its surroundings, while
producing glare-free illumination. The option of different light beam
angles ensures light is directed exactly where it is needed, while a
‘twist and lock’ mechanism makes for ease of installation. Both LED
and GU10 variants are available within the range, which are all IP65
and fire-rated. Covering a wide range of lighting requirements, Void
offers a selection of different colour temperatures, sizes, colour
rendering and bezel choices.
Hall 5.1 C90, Hall 1.1 H01 • www.astrolighting.com

DRX5
3 RCL 3
Measuring just 145mm in diameter, DRX5 enables you to pin spot
or flood throughout a project with one cohesive aesthetic. The 4
four-degree beam is the most precise in the market, perfect for pin
spotting from high ceilings, whilst the ground-breaking DRX zoom
light engine adds an extra dimension of flexibility. Each light has
motorised 360-degree pan and 35-degree tilt controllable by a wide
range of protocols, including RCL’s latest wireless control system,
building on the award winning iDirect.
5
Hall 4.2 A44 • www.rclighting.com

Odeon Flood
4 Claypaky
The Claypaky Odeon Flood family is a range of compact, lightweight,
stylish, easy-to-install floodlights for architectural use (IP65,
IK09) available with various optical units (15, 25 and 35-degrees)
and aesthetic finishes. They feature high-power multi-chip LED
technology, which ensures excellent colour mixing and perfect
DMX/RDM dimming. The Odeon floodlight enhances historic and
artistic monuments, public and private buildings, architectural
structures, and parks, trees and gardens, as well as businesses such
as shops, shopping centres, restaurants, hotels, cinemas, gyms and 6
leisure centres.
Hall 8.0 F98 • www.claypaky.it

6
Cardan Evolution

5
Tetriss W+RGB
Meteor Lighting
Tetriss W+RGB offers flexible lighting with modular design,
advanced bracket system, and various mounting options. It can
be configured with any combination of white and RGB modules on
one fixture. RGB and white light are usually controlled separately,
resulting in control complications and increased system cost as two
separate sets are needed. With Tetriss W+RGB, one system is able
to control both RGB and white light. It is suited for applications in
convention centers, sports arenas, theaters, and worship spaces.
Hall 4.2 J11 • www.meteor-lighting.com
Zumtobel
The turnable and tiltable Cardan evolution luminaire from
Zumtobel fuses outstanding flexibility with a timelessly simple
design, enabling both sizes of this recessed downlight (M and L)
to blend harmoniously into a wide variety of architectural settings.
An extensive range of accessories adds even further creative scope
by fulfilling a wide range of precise accent-lighting tasks. In this
way, Cardan evolution stands out as a multifunctional lighting tool
characterised by excellent colour rendering and a choice of light
distributions.
Hall 2.0 A30, B30, B31 • www.zumtobel.com

236 www.arc-magazine.com
‘a new flexible line’
Flexi-Light-Optic Available in Top
Bends in X & Y axis Vew, Side View
for curved wall grazing & various sizes

Flexi-Line-White

Flexi-Line-Media
Flexi-Line-RGBW

Available in white colour temperatures, RGBW, Tuneable White & Dynamic Media RGB.
Using our proprietary “colour-lock” technology.

MADE IN THE UK
Compatible with our FLO iOS Wi-Fi controlled App vexica.com
 PRODUCTS
Io
1 Arkoslight
Io, designed by Arkoslight’s Head of Design, Rubén Saldaña, is an
LED spotlight miniaturised in a fixture that is so small that it fits on
the palm of your hand. Designed for accent lighting applications,
its small dimensions mean it can be fitted in display cabinets, shop
windows and small places without generating an invasive presence
on the scene. Io has been awarded with the Good Design Award,
ADCV Award, Delta Award Silver and IF Design Award.
Hall 3.1 C91 • www.arkoslight.com
Dynamic COBs
2 Luminus
Luminus Dynamic COBs are ideal for human centric lighting
applications where warm-dimming or CCT-tunable spots with high
centre beam candlepower are required. With options from 6500K to
1800K and CRIs of 90, 92, and 95 minimum, Luminus Dynamic COBs
offer the industry’s widest range of choices. The warm-dimming
line is an easy-to-use single channel COB, which is specified and
tested hot (85-degrees Celsius) and uniquely offers either a linear
dimming curve from 3000K to 1800K or a ‘halogen-like’ dimming
curve.
Hall 4.0 B30 • www.luminus.com
1 Zedge Pro is the new floor washer lighting fixture designed by
2 (200mmx200mm) it maintains its perfect proportions and sloping
238 www.arc-magazine.com
Atto
3 Precision Lighting
LIT award winner Atto is the smallest architectural spotlight in the
market. So tiny in fact, that one of the designs is smaller than a
one Euro coin and another fits inside a toy plastic egg. Flexible
and lockable, the spotlight delivers clean light distribution from
exceptionally discreet modular designs. Supplying 105lm with
just 1W, Atto is available with a wide range of optics, finishes and
mounting options, allowing selection by aesthetic, beam distribution
and colour temperature, to suit any type of display.
Hall 4.2 A44 • www.precisionlighting.co.uk
Yori Evo Ghostrack
4 Reggiani
The new Yori Evo Ghostrack range works on standard three-circuit
track, Ghostrack three-circuit track and 48V tracks. New invisible
adapter and a patented invisible driver that is up to 35W, which can
work with up to four standard projectors or 15 mini spots. It features
Precision lenses and TIR for very narrow, narrow and medium
beams with high candela values up to 64.000cd and Performance
reflectors in 99.9% pure aluminum for narrow, medium and wide
beams, with efficacy values up to 118 lm/W.
Hall 3.0 E81 • www.reggiani.net
5
Zedge Pro
Targetti
Targetti in collaboration with Gensler. With larger dimensions
design of the smaller version with particular attention to every
aesthetic and functional detail. A professional tool ideal for lighting
pedestrian walkways or large horizontal areas, Zedge Pro is
equipped with a special optical system that allows for maximum
flexibility of use for specific design requirements of architects,
designers and lighting designers.
Hall 3.1 A51 • www.targetti.com
6
Focus
Unilamp
Focus is a completely new family of outdoor spot lights engineered
from scratch. The shapes and overall small dimensions make
it possible to install Focus in most professional and residential
lighting applications. High quality optics provide accurate beam
control and offer a wide selection of light distributions. Focus
can be customised with accessories such as filters, honeycombs,
shields and various mounting solutions for poles and surfaces. The
minimised amount of needed tools and usage of quick connectors
simplifies the installation.
Hall 5.0 C80 • www.unilamp.co.th
 AGORA
OUTDOOR
AREA
 PRODUCTS
CAS 140D
1 Instrument Systems
Visitors to the Instrument Systems stand will be able to experience
advanced measuring stations for spectroradiometric and
photometric measurement tasks: The new stray light corrected
CAS 140D is the first high-end array spectrometer that can
reliably assess the blue light hazard from light sources within the
prescribed limiting values. Accredited light measurement solutions
for colorimetric quantities with unique measurement accuracy
and future-proof service are also shown, e.g. the CAS 140D in
combination with the ISP 2000 integrating sphere.
Hall 4.1 K89 • www.instrumentsystems.com
GoboLED 7-Pro
2
Griven
Packed with multiple effects and patterns, GoboLED 7-Pro
offers broad creative design integration for permanent exterior
installations. Fitted with one high power LED, this image projector
delivers a bright and accurate rendition of graphic designs or logos
in outdoor and indoor locations.
Hall 5.0 B45 • www.griven.com
Venus True Color
3
LED Linear
Venus True Color is an LED luminaire using a new polyurethane
encapsulation technology offering an IP67 ingress protection
combined with optimum rendition of the LED spectrum, avoiding
any CCT shift: True Color. It is available in two variants. Top View
variant takes over for 2D bends perpendicular to the luminous
surface. 3D variant extends the boundaries of lighting design by
providing a perfectly homogenous light line which can be twisted or
bent in 3 dimensions (3D) in order to follow any curves present in
modern architectural concepts.
Hall 4.2 J61 • www.led-linear.com
5 6
240 www.arc-magazine.com
Moto-Palla In&Out
4 Forma Lighting
Moto-Palla In&Out, part of the Motolux collection, is available in
three sizes. The fixtures can be tilted 90-degrees out and ten degrees
inside the ceiling through the revolutionary Motolux remote control
or Casambi smart-phone app. The series is equipped with Xicato or
Soraa modules, super narrow beam (four degrees) and Tuneable
White/DimToWarm versions. Moto-Palla 70 with a ceiling cut of
130mm and a height of 145mm discretely fits in low ceiling voids.
Hall 4.2 E10 • www.formalighting.com
Orao
5 Cariboni
Orao offers solutions with LED technology for lighting façades,
streets, walkways and urban spaces. The innovative optical systems
designed for the Orao line guarantee visual comfort, safety and
enhanced quality of space. The Orao system includes different
installation methods and a tilting system for meeting the specific
functional and architectural requirements of any environment.
Rotosymmetrical, symmetrical, asymmetrical and street optics are
available, as well as solutions for pedestrian crossings and wet road
surfaces.
Hall 3.1 B61 • www.caribonigroup.com
6
Bitpop
L&L Luce&Light
Bitpop is a recessed downlight with single or multiple optics that
can be installed in false ceilings in two ways: flush with the ceiling
or recessed. The family is made up of three versions: single optics,
four optics in a line (elements in 1x4), and four optics in a square
(elements in 2x2). All three versions feature recessed optics,
designed to guarantee the user’s visual comfort. The optics are
available with different beams: 17, 30, and 42-degrees, 17x45-
degrees; white light with CCT 2700K, 3000K and 4000K.
Hall 3.1 D25 • www.lucelight.it
 PRODUCTS

Cosmo FX
1 ES-System
Cosmo FX is a series of versatile and easily maintained luminaires 2
with an increased resistance to adverse environmental conditions.
Because they have been optimised for use with LED technology,
their parameters exceed those achieved by similar competitive
products, despite their compact size and low weight. In addition,
the original design of the housing is emphasised by optional colour
versions. The use of different optical systems provides high quality
lighting. Cosmo FX is the perfect solution for numerous lighting
applications: from residential interiors to offices, schools and
industrial facilities.
Hall 3.1 E15 • www.essystem.pl

Bow
2 Grupo MCI
Bow is a stylish and versatile luminaire designed to highlight the
outer edge of windows and arches. It creates an amazing uniform 3
monocolour, smart white and RGBW line of light to enhance
architectural façades. The sophisticated inner mechanism allows
you to easily adjust both the beam angle and the luminaire’s tilt
without breaking its pure shape.
Hall 4.1 G11 • www.grupo-mci.org

Ikar
3 LED Luks
Characterised with a ring light, Ikar is a fascinating alternative to
conventionally shaped downlights. The completely adjustable head 4
can be freely rotated through 360-degrees (track version) as well
as in ±90-degree direction for an optimum adaptation of light on
different objects. The downlight family offers different mounting
options (track, ceiling, recessed) and colour temperatures (2700-
5000K). Being available in two sizes (65, 127mm) and in different
beam angle versions, Ikar is the ultimate downlight solution for a
wide range of applications.
Hall 4.2 A02 • www.ledluks.com

4
Hydrotwist IP65
PUK
Hydrotwist is PUK’s brand new project in collaboration with 6
Paolovilla Design: a swivel Floodlight whose head can be oriented
and fixed in endless positions. You can choose a different shape for 5
the head but the result is always the same: target the light beam in
a strategic way. Hydrotwist is not only a piece of design but it’s also
a high-performance light. Thanks to its Special Optics with ‘invisa-
light’ technology, this becomes practically a glare-free floodlight.
Hall 4.2 E50 • www.puk.it

5
Centura
Radiant Lighting
Centura is a flexible LED linear lighting system, designed to make
complex designs simple. An innovative design offers the flexibility
to follow curved surfaces, encircle columns and domes, and to
make irregular shaped pendants. Available in uplight and downlight
versions, surface mounted or suspended, and with a lumen output
of up to 5,000 lumens per metre, Centura is ideal for a range of
application areas including architectural, hospitality, leisure and
retail. Centura offers complete flexibility, adjustability onsite and a
choice of colour options ensuring there is a solution for any lighting
challenges.
Hall 4.2 A16 • www.radiantlights.co.uk
Oreo
6
Roxo Lighting
The Oreo range, with its minimalist 35mm aluminium profile
as well as the elegant and clearly defined contours, allows new
lighting concepts, contemporary visual effects and unique creative
solutions for your space. Equipped with the latest LED technology,
the Oreo range is available in suspended horizontal, angled and
even vertical positions that you can combine with sixteen colours
and inside or outside light distribution.
Hall 4.2 H21 • www.roxolighting.com

242 www.arc-magazine.com
 2018 NEW
LIGHTING COLLECTION

PRESENTATION HOSTED
IN THE PRESTIGIOUS
ZEFFIRELLI MUSEUM
22ND MARCH 2018
F L O R E N C E , I T A LY
info@uozulighting.it
www.uozulighting.it
 PRODUCTS
3
1
2 4
Gabriella
1 LEDiL
Gabriella is an RGB and tunable white colour mixing lens family from
LEDiL. Its unique surface design provides excellent colour uniformity
and comes with a black holder and an optional installation tape. A
10-degree spot beam will be followed by medium and wide beams
in 45mm and 35mm diameters.
Hall 4.0 B21 • www.ledil.com
Glassiled UNI
2 5
AGC Glass
AGC Glass Europe presents Glassiled: when LED inspires Glass.
On top of its Glassiled Sign (embedded monochrome LED) and
Glassiled Motion (embedded individually addressable RGB
LED), AGC introduces Glassiled UNI, its new product with LED
(monochrome or RGB) that enlightens your façade uniformly,
offering fantastic aesthetics to your building.
Hall 4.1 J10 • www.agc-glass.eu
L-UGR
3
Lamp83
The combination of high performance, low glare and modern
design, the L-UGR series is ready to answer all your needs in terms
of general lighting. L-UGR has two different recessed body options
at 140x140mm and 190x190mm. Homogenous and low glare
illumination thanks to 60-degree diffuser and reflector combination
and 109lm/W efficiency. Optionally, L-UGR can also be produced
with the highest level of optical technology, with a low level of
glare effect (UGR<19) that can be used in the office environment
according to the European Union norms.
Hall 3.1 B18 • www.lamp83.com
244 www.arc-magazine.com
Bilton Air
4 Bilton
The new Bilton LED module series Bilton Air is a highly flexible
silicone tube and, in addition to protection class IP67, guarantees
top light quality, an effective heat dissipation and is resistant to
external influences (UV, salt, chlorine, etc.). The LED strip light can
be shaped flexibly and is available in three different light colours.
Agora B10 • www.biltongroup.com
Marco
Megaman
Marco is the latest low energy lighting solution from Megaman – a
versatile, compact LED track light that allows 330-degree rotation
and ±90-degree tilt angle. The LED’s hybrid reflector technology
and range of optical accessories including; spread and rectangular
lens, honeycomb louvres, barn doors and coloured filters, allow for
complete control over light distribution. At the same time, Marco
will minimise light spill and reduce glare, making it ideal for retail
or gallery projects. Ingenium ZB compatible, Marco allows users to
have wireless control of their lighting and integrate it with existing
ZigBee systems.
Hall 4.0 G03, Hall 4.1 H70 • www.megamanuk.com
6
Fusion
DesignLED
The lighting industry has been looking for diffuse area lighting
products with the function of OLED giving low glare, high uniformity
and scalability, but at lower cost, increased reliability and better
performance. DesignLED’s Fusion OLED-alternative product is
mechanically flexible, 3mm in thickness and without a bezel. The
product consists of DesignLED’s patent protected inorganic LED/
light-guide technology. The product is 150mmx150mm size, with
an efficacy of >100 lumen per watt and a surface luminance of over
20,000 Cd/m2.
Hall 5.0 C30 • www.designled.com
 IP IP6
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 PRODUCTS

1 2

Diffuse LED strips

1 liniLED
liniLED Diffuse LED strips are rated with the highest protection
available. DEKRA tested and approved the luminaires to be IP68+
submersible and IP69K. They can be used in water more than
50-metres deep, while being protected against ingress of dust and
close range, high pressure and extreme temperature spray downs
at the same time. The liniLED Diffuse range is available in Top and
Side emitting LED strips and comes standard with IP68+/IP69K 3
Mirror Welded Connectors.
Hall 4.1 E61 • www.liniled.com

SmaCT range
2 Sagitario
The SmaCT range is a set of multi-functional digital controllers,
even for OEM applications, designed to provide full control and
data tracking of the light fixtures installed in a project, in terms 5
4
of voltage, current, working temperature, light output and smart
performance. Between the main specs, these devices can support
the standard common protocols (DALI, DMX, 0/1-10V) as well as a
proprietary Sagitario protocol; include digital and analog ports and
NTC sensor; allow scenes programming thanks to the featured
clock and calendar and can be totally managed remotely.
Hall 3.0 B11 • www.sagitariolighting.com

Terra Plus
3 Studio Due
The Terra Plus family of In-Ground LED lighting has been designed 6
for architectural and landscape applications. These powerful
fixtures are suitable for the illumination of buildings, sculptures,

pedestrian areas and gardens. The new range offers has optimised
beam control and delivers exceptional lighting performance. All of
the Terra family are easy to install, they are compact in size and
conform to standard building regulations. Available in RGBW,
Monochromatic, and Tuneable white, the Terra Plus family features
very high lumen output, and motorised tilt adjustment of -2 to
10-degrees.
Hall 4.1 C39 • www.studiodue.com
5
C95-W
Glamox
The new square addition to the popular C95 family is finally here.
Glamox C95-W is an elegant wall-mounted luminaire, in two neat
sizes. The family is characterised by a clean, minimalistic design
and fully illuminated surfaces. The edge lit technology allows for a
slim profile and sleek design. Glamox C95-W is also available with
integrated emergency lighting. C95-W is one of the many products
we will present at Light + Building.

4
SIO3 Junior Lenses Hall 3.0 C51 • www.glamox.com
Khatod

Free form lenses, for COB LEDs, nine to 23mm LES, eight beam
angles. Made of Ultra-Clear Silicone (LSR). Excellent transparency,
high optical clarity, long term durability. No need for extra
protection. Engineered for Street/High-Bay/Area Lighting, Outdoor/
Indoor, SIO3 Junior Lenses are in great demand in horticulture,
greenhouses and urban vertical farming applications. The lenses
allow immediate switching from conventional lighting to SSL, and
can be easily installed in existing fixtures. Temperature resistant
from –40-degrees Celsius to 200-degrees Celsius, they are UV-
resistant, with a non-yellowing effect, and designed to comply with
IP65 and IK10 ratings.
Hall 4.1 F39 • www.khatod.com
6
Module range
Tryka
The 2018 family of Tryka Modules encompasses a full range of
power options from 3W through to 48W, delivering a CRI >90 and
efficacy of up to 100lm/W, this series of luminaires provides a
suitable power/performance package to meet virtually any external
and internal application. Designed and manufactured in the UK, all
use powerful Cree XP-E2 LEDs coupled with high efficiency Ledil
lenses. This is combined with three or four channel customisable
LED population, enabling Single Colour, RGB, RGBW, RGBA,
Tuneable White or bespoke colour arrays.
Hall 4.1 E73 • www.tryka.com

246 www.arc-magazine.com
 GLASSILED UNI
Light up your facade uniformly
with LED-embedded glass

WHEN LED INSPIRES GLASS

Play with an infinite range of colour tones
and variations on your facade glazing!
Scan to watch the video.

Visit us @ Light + Building Hall 4.1 – Stand J10

AGC Glass Europe – sales.glassiled@eu.agc.com - www.agc-yourglass.com
 PRODUCTS
Devina
1 Fagerhult
Devina combines a timeless design with scope for customisation to
provide an exterior lighting solution, which not only illuminates but
also creates an identity in public spaces. The perfectly symmetrical
cylinder was developed according to the most enduring of design
principles, the Golden Ratio. Each Devina has a distinct visual
language, which speaks through the carefully curated composition
of materials. Choose between the pre-defined styles or create your
own expression with different textures or colours.
Hall 3.0 D91, D95 • www.fagerhult.com
Lunata
2 LTS
The discreet and elegant Lunata can be used as a ceiling, wall or
pendant luminaire. It’s available in five different sizes and comes
with the option of ceiling lighting, light effect ring or tunable white
light. You can also choose from different luminaire colours and
colour temperatures. The luminaire can therefore be individualised
according to personal taste and tailored to suit the most diverse
requirements and spatial conditions.
Hall 3.0 D91, D95 • www.lts-light.eu
Accessory Package Optics
3 Tridonic
The Tridonic portfolio has been expanded to include a complete
accessory package of lenses with various beam characteristics.
The lenses are suitable for all DC LLE 24mm modules and are easy
to mount. For the three-row LLE 55mm modules, the company
also provides the corresponding optics enabling various light
distributions for applications in offices and shops. This accessory
package supports luminaire manufacturers in developing
luminaires in a quicker and more cost-optimised way. Thanks to
the high-quality PMMA materials used in the manufacture of the
lenses, they achieve optical efficiency of up to 95 percent.
Palais Livingston • www.tridonic.com
4 6
248 www.arc-magazine.com
MCPET
4 Furukawa
A lightweight reflector with unrivalled levels of diffuse and overall
reflectivity, the MCPET is perfect for low glare, indirect lighting
solutions. This lightweight reflector is easier to process and more
rigid without backing. Custom created in either sheets, cut, folded
or formed to customer requirements, this fitting provides complete
surface homogeneity with more than 100% diffuse and overall
reflectivity compared to BaSO4.
Hall 4.0 F31 • www.furukawa.co.jp
Esalite
5 Gewiss
The Esalite features Italian-design, modularity and robustness
mould into a new, originally-shaped range of functional high-bays
and architectural floodlights for green areas and general outdoor
lighting. Assuring high performances from 3000 up to 48000lm
outputs, Esalite guarantees high degrees of protection and impact
resistance, especially for industrial applications. Equipped with
built-in DALI control system, high-quality LED source and optics,
this Gewiss product range perfectly matches specific needs and
expectations of end-users and lighting designers.
Hall 5.0 C70, Hall 8.0 A30, Hall 9.2 D34 • www.gewiss.com
DIALux mobile app
6 DIAL
The new DIALux mobile app makes it possible to design and plan
lighting directly on site in interior spaces. In the latest version of the
DIALux evo 8.0 lighting design software there are yet again many
new features, which will simplify the designer’s work and speed up
the workflow.
Hall 3.0 A80, Hall 9.1 D66, Galleria.1 B21 • www.dial.de
Mondo Feb 2017 full page.indd 1 05/02/2018 18:26:20
 PRODUCTS

Best of the Rest 2

A look at some new product releases from those
not able to make it to Light+Building 2018.

3
Synthesis
1 Acolyte 4
The Synthesis LED Linear is a modular based LED fixture that is easy
as ABC to configure. Choose your beam angle and tailor this fixture
to your space and lighting needs in minutes. Multiple direct and
indirect beam angles range from ten to 120 degrees. Symmetrical
and asymmetrical lenses make the Synthesis LED Linear extremely
versatile. It’s also efficient and delivers up to 116 lumens per watt.
Square and rounded profiles are available with a combined power
and support cable. The Synthesis LED Linear is available in black,
silver, white and gold standard finishes. Custom powder coat and
anodised finishes available upon request.
www.acolyteled.com

Caliber Wall
2 unonovesette
Caliber Wall is an extremely efficient compact LED wall-light
recessed wall or in-ground drive-over, designed with an angled
perspective of 30 degrees for optical excellence and engineered for
complete resilience. Caliber Wall features the unonovesette Smart
Shield system, complete with an integrated constant current driver,
which allows the luminaire to be powered in parallel with a 12Vdc
up to 24Vdc constant voltage power supply.
www.unonovesette.it
Aspen
3
Hacel
Designed and manufactured in the UK by Hacel, the new stylish and
sculpted Aspen range of prismatic LED pendants offers excellent
light distribution and performance. The range is available in a choice
of lumen outputs delivering up to 8386 lumens with efficacies up
to 135lm/W. Hosting a classic design with perfect proportions, the
Aspen is a versatile solution for a range of applications.
www.hacel.co.uk
5
6
5
LED Lightline
ADO Lights
The LED Lightline provides luminous lines when darkness falls.
Sometimes an eye-catcher, at other times showing the way, it
accentuates entrance areas or emphasises architectural contours.
Lightlines can be integrated in façades and floor spaces – they are
always an optical highlight. Ideal for public spaces, façades and
entrance areas, it is available in straight or curved versions. It is
safe to walk or drive in for vehicles with air-filled tires, and can
be implemented in variable applications from user-friendly small
applications to building automatism systems.
www.ado-lights.com

4
iP Stealth
illumination Physics
The Stealth direct view luminaire was created to be almost invisible
in daylight against a dark façade, where a diffused LED tube would
have looked discordant. The neutrally filtered clear prismatic
lens and black body and internal surfaces mean that ‘iP Stealth’
disappears when not illuminated. The clear lens increases the light
output compared to a diffused lens so the energy used can be
reduced. The unique section shape is customisable to mimic the
form of the building.
www.illuminationphysics.com
6
Wall Director
KIM Lighting
The new Wall Director from KIM Lighting is the first wall pack
LED with a -5 to +10-degree lockable tilt adjustment. The lower
housing rotates against the mounting arm housing, providing
precise adjustments without significantly changing aesthetics. The
standard clear lens provides up to 17,000 delivered lumens at an
efficacy range of 95 to 145lm/W, immediately establishing the Wall
Director a spec-grade, market leader for performance and output.
www.hubbell.com/kimlighting

250 www.arc-magazine.com
Always Light
David Morgan casts
his eye over the Lif
system from Selux:
a comprehensive
urban lighting
system based on a
S
elux Lighting, originally known as Semperlux,
Latin for ‘always light’, was started by

minimal pole design.

David Morgan Associates, a London-
based international design consultancy
specialising in luminaire design and
development and is also MD of Radiant
Architectural Lighting.
Email: david@dmadesign.co.uk
Web: www.dmadesign.co.uk
Hermann Bansbach in Berlin in 1948, when the
city still lay in ruins with hardly any electricity
– or light.
Hermann Bansbach brought light into this dark
time by brightening the Berliners’ buildings
with his simple, affordable battery charger. The Selux brand name
replaced Semperlux in the 1980s and a craftman’s shop in Berlin
turned into a global company with 553 employees in Europe, North
America, and Australia. Today the company generates more than 80%
of its revenues outside Germany.
Selux has produced exterior amenity and street lighting since the
1960s and has lit major cities around the world. The Lif system is one
of the latest amenity lighting ranges to be added to the Selux range
and was launched at Light+Building in 2016. Lif is a comprehensive
urban lighting system based on a minimal 180mm diameter pole
design. As many elements of the system as possible are designed to
fit within this diameter. These include a variety of LED luminaires,
CCTV cameras, Wi-Fi hotspot and loudspeaker modules, and this
provides an integrated and elegant appearance that could reduce the
visual clutter of many city centres. The only elements that extend
beyond the pole diameter are signage, phone charging points,
emergency phones and information points.
The LED lighting elements of the Lif system include pole top
luminaires for general lighting, façade lighting arrays, directional
projectors and diffuse rings of light available in various colours. The
luminaires and other system elements can be stacked on top of each
other to provide the precise combination of outputs and distributions
required for the particular location in an urban space.
The lighting and other modules are mounted in cylindrical housings
available in four different heights, which can be independently
rotated to aim the light output from the projectors and façade
lighting in the correct direction. The smallest housing is 250mm
high and large enough for the twin projector module with the largest
housing being 1.5 metres to accommodate up to three façade lighting
arrays.
Within each LED luminaire type there are multiple options. The façade
lighting luminaires are available in horizontal or vertical beam types
with ten distributions and two colour temperature options of 3,000k
and 4,000k. The design detail and construction of the 500mm long
façade lighting luminaires is particularly well executed. Twelve high
power LEDs with TIR optics are aimed sideways towards individual
scoop shaped faceted reflectors that direct the light into the correct
beam pattern and direction for the various distributions. For each
distribution type the reflectors are positioned and aimed in different
configurations. The front glass is bonded to the die-cast enclosure

252 www.arc-magazine.com

with an attractive screen-printed pattern to hide the bond line.
The post top lighting element is also beautifully detailed with
individual sub-assemblies including an LED ring, heat sink, moulded
prismatic lens and highly engineered facetted, vacuum metalised,
moulded reflector. Two or four sub-assemblies comprise each post top
element with either symmetrical or asymmetric distributions.
The twin spot projectors incorporate hybrid optics that combine a
facetted-moulded lens with a metalised reflector coating to produce
a narrow beam distribution from a shallow component. Two beam
angles are available and can be combined in the same twin projector
module. The front glasses are again bonded to the die-cast heat sink
housing.
The final luminaire type is the diffuser ring. This can be provided
in any fixed colour for zoning or as part of a wayfinding scheme.
These can be located either at the top of the pole under the top cap
or between any of the other elements in the stack. Dimming for all
luminaires is via DALI.
DAVID MORGAN
The Lif system is a very well engineered and elegant system that
can be configured in multiple ways to meet almost any city centre
amenity lighting task.
It is understood that the design and development was all undertaken
in house over an eighteen-month period by the Selux design and
engineering team.
The visual logic of the system’s design is minimal and the detailing
is clean and very well executed with high-quality components.
My only concern about the design is that the projectors and façade
lighting luminaire are all sealed for life and would not be able to
be maintained on site at the end of their life or in case of any LED
failures. However, bonding the glass directly to the casting does
give a very effective seal and it may be that these luminaires can be
reworked in the Selux factories if necessary.
This new system is an interesting, elegant and practical addition to
the Selux amenity lighting range.
www.selux.com
www.arc-magazine.com 253
 PROJECTS

EXPO DIARY

Event Diary
Industry events where you’ll find arc in the months ahead

EXPO LIGHTING AMERICA INTERLUMI IALD ENLIGHTEN AMERICAS

27 February - 1 March 11-13 July 11-13 October
Mexico City, Mexico Panama City, Panama Seattle, USA
www.expolightingamerica.com www.inter-lumi.com www.iald.org

LIGHT + BUILDING DARC AWARDS / ARCHITECTURAL PLDC

18-23 March 13 September 25-27 October
Frankfurt, Germany London, UK Singapore
www.light-building.messefrankfurt.com www.darcawards.com/architectural www.pld-c.com

LIGHTFAIR INTERNATIONAL DARC ROOM HONG KONG INTL LIGHTING FAIR

6-10 May 19-20 September 27-30 October
Chicago, USA London, UK Hong Kong, China
www.lightfair.com www.darcroom.com www.hktdc.com/fair/hklightingfairae-en

DARC AWARDS / DECORATIVE LIGHT MIDDLE EAST IALD ENLIGHTEN EUROPE

31 May 23-25 September 7-9 November
London, UK Dubai, UAE Barcelona, Spain
www.darcawards.com/decorative www.lightme.net www.iald.org

GILE TRENDS IN LIGHTING ILLUMINOTRONICA

9-12 June 25-27 September 29 November - 1 December
Guangzhou, China Bregenz, Austria Bologna, Italy
www.guangzhou-international-lighting- www.trends.lighting www.illuminotronica.it
exhibition.hk.messefrankfurt.com

254 www.arc-magazine.com
 LED Pixel Mapping –
Refined And Redefined.

ADVERTISERS INDEX
3F-filippi..................................................................... 1
Acclaim.................................................................. 189
Acolyte................................................................... 105
ADO Lights............................................................ 227
AGC........................................................................ 247
Alto..................................................................... 27, 31
Anolis...................................................................... 8-9
Applelec................................................................. 201
Arkos........................................................................ 41
Artemide................................................................. 97
Astro...................................................................... 165
Atelje Lyktan........................................................... 81
Barrisol.................................................................... 77
Bega....................................................................... 163
Bilton..................................................................... 239
Bridgelux................................................................... 3
Cariboni................................................................... 91
Chromateq............................................................ 215
Citizen Electronics.................................................. 59
Clay Paky................................................................. 17
Climar.................................................................... 103
CLS........................................................................... 12
darc awards........................................................... 6-7
David Morgan Associates.................................... 249
Dial......................................................................... 215
dpa lighting........................................................... 257
Electron................................................................. 255
Erco.......................................................................... 39
ES-Systems............................................................ 143
Fluvia....................................................................... 53
Forge Europa........................................................ 231
Forma...................................................................... 33
Fuhua Electronic ................................................... 16
Furukawa.............................................................. 229
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON.
TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
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- Bonus subscription to International Lighting Design Survey
Glamox.................................................................... 47
Griven...................................................................... 27
Grupo MCI............................................................. 227
Grupo Prilux......................................................... 221
Guangzhou International Lighting Exhibition............ 186
GVA........................................................................ 211
Hacel....................................................................... 4-5
Heper..................................................................... 259
Huda........................................................................ 23
IALD....................................................................... 198
illumination Physics............................................. 171
Imperial................................................................. 195
Instrument Systems............................................. 217
InterLumi.............................................................. 192
Isometrix............................................................... 257
Khatod..................................................................... 24
KKDC........................................................................ 45
Koizumi................................................................. 241
L&L Luce&Light...................................................... 10
Lamp 83................................................................ 185
Lamp Lighting......................................................... 51
LED Linear............................................................. 260
LED Luks................................................................ 208
Ledia........................................................................ 22
LediL........................................................................ 19
Lightfair International......................................... 232
Lightgraphix.......................................................... 139
Ligman..................................................................... 49
Linea Light Group................................................ 157
Lival.......................................................................... 25
Luminus.................................................................. 21
Luxonic.................................................................. 159
Madrix................................................................... 255
MBLD..................................................................... 257
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MBN......................................................................... 20
Meteor................................................................... 205
Molto Luce.............................................................. 15
Neonlite................................................................. 175
Nexo Luce............................................................. 155
Nicolaudie............................................................... 13
Nordic Light.......................................................... 101
OLEDWorks........................................................... 217
P.U.K...................................................................... 179
Panzeri.................................................................. 121
Prolicht.................................................................... 55
Recolight............................................................... 202
Reggiani................................................................. 109
Remote Controlled Lighting................................ 131
Rise........................................................................ 229
Rising Dragon Technology.................................... 14
Roxo....................................................................... 213
Sagitario.................................................................... 2
Seoul Semiconductor.......................................... 235
Soraa....................................................................... 37
Stanley................................................................... 127
StrongLED............................................................... 18
Studio Due............................................................ 251
Teknolight............................................................... 66
Tokistar................................................................. 225
Triolight................................................................. 245
Tryka...................................................................... 117
Unilamp................................................................... 11
Unonovestte......................................................... 251
Uozo Lighting........................................................ 243
Vexica.................................................................... 237
Wibre..................................................................... 181
Xicato....................................................................... 89
Zumtobel................................................................. 85
dpa lighting consultants has the following positions for suitably talented candidates
Senior Lighting Designer - London and Dubai Studio
We require a creative and technically knowledgeable Senior Lighting Designer with fully rounded lighting design experience and skills to join our London and Dubai
teams. Excellent written and spoken English is essential. We would expect candidates to have a wide portfolio of work including hospitality projects (interior and
exterior).

IT skills must include Microsoft Office, AutoCAD, InDesign, Photoshop, DIALux and are a requirement for this post. Knowledge of BIM/Revit would be beneficial but
not essential.

Duties and responsibilities would include, but not limited to, working within a team environment to produce concept and detailed design packages, including AutoCAD
plans and design details, specifications and schedules, build mock-ups, prepare sketch design proposals and liaise with architects, interior designers, and equipment
suppliers. Attend design and site meetings in the UK and overseas. Supervise the work of lighting designers within the studio and contribute creatively and technically
to projects including research where appropriate.

Only applicants with professional independent lighting design experience will be considered. The candidate must be able to present a portfolio of work that
demonstrates both creative/technical knowledge and skills associated to lighting design. Salary: £32,500.00 - £44,000.00 / per annum depending on experience.
Remuneration will be commensurate with experience and includes bonus opportunities. The Dubai position enjoys a tax free environment subject to personal
taxation circumstances.

For further details about dpa, please refer to our website: www.dpalighting.com. Closing date for applications: 30th March 2018.

Lighting Designer - Oxfordshire Studio

We are currently looking for a Designer to join our Oxfordshire Studio. The role will involve being part of a design team and providing support in the production of
concept presentations, layout drawings and details, specifications etc. with the opportunity to progress within the Practice.

Applicants should have excellent AutoCAD and Photoshop skills. An understanding of InDesign, Visualisation programmes and other lighting related packages such as
DIALux, and BIM/Revit would also be advantageous but not essential. Excellent written and spoken English is essential.

Please note that our Oxfordshire Studio is in the rural hamlet of Clifton, therefore candidates would need a car to travel to the office as there is no public transport
available. Remuneration will be commensurate with experience and includes bonus opportunities.

For further details about dpa, please refer to our website: www.dpalighting.com. Closing date for applications: 30th March 2018.

Please e-mail your application letter and CV along with a portfolio of examples of completed projects where you have had a significant contribution,
to Elizabeth Grundy eg@dpalighting.com. Please clearly state on your covering email which studio you are applying for.

JUNIOR LIGHTING DESIGNER

ASSISTANT LIGHTING DESIGNER &
INTERMEDIATE LIGHTING DESIGNER
MBLD are expanding the London Studio, and as part of this
expansion we are looking for a number of new creative designers to
join the team on projects locally and globally.
Based in Central London, we are an award winning architectural
lighting design consultancy and are seeking a creative and enthusiastic
individual to join our talented and experienced team. Our global
portfolio includes all sectors of lighting design including Hospitality,
Food & Beverage, Retail, Residential, Exterior, Commercial, one-off
Events and Exhibitions.

The diversity and range of projects is extensive. You will be working
with highly experienced designers, and a company that has been
pioneering design for over 30 years.
MBLD has a track record of innovation, excellence, and quality.
You will be working on many hospitality and corporate
collaborations all from the MBLD new Studio base in
Shoreditch.
We need an Assistant Designer and an Intermediate Designer with
degree qualifications. Salary is depending on ability and experience.
Dealing with projects from conception to completion, you will learn
through working alongside Senior experienced lighting designers on
complex projects. This is an exciting opportunity that offers real
career development for candidates with some experience in lighting
or lighting related fields.
Candidates should be proficient in; AutoCAD, Adobe and Microsoft
Office and should be able to demonstrate excellent visualisation skills
including hand sketching (2D and 3D) and Photoshop renderings. A
willingness to learn, pro-activeness and good communication skills
are essential.

Please send your cover letter, cv and portfolio to: International travel will be required with a competitive salary, plus
bonus, and generous benefit package are offered.
Jill Farrow
jill@mbld.co.uk To join our dynamic multi-national team please send your CV and
35-47 Bethnal Green Road work samples to: ltg@isometrix.co.uk or 8 Glasshouse Yard,
London
London, EC1A 4JN, UK
E1 6LA
T: +44 (0) 20 7729 5633
www.isometrix.co.uk
W: www.mbld.co.uk
 THE BACK PAGE BUCKET LIST

#02 ÅF Lighting Curated by

“Live hard, die old, leave a beautiful corpse.”

Kai Piippo

What:
Experience the extremes of arctic light.
Where:
The small Swedish village of Abisko, 200km north of the
Arctic circle, has become a hotspot for experiencing natural
light phenomena like the polar day (midnight sun), the polar
night and the northern lights of World Records.
How:
Between the end of May and mid-July, the sun never sets
- a phenomenon called the polar day. In December, on
the other hand, the sun stays under the horizon for three
consecutive weeks with only two gloomy hours of light
during the day. This is called the polar night.
Why:
In Abisko, everything is pushed to the extreme. In summer,
you get so much energy from the sunlight that every cell
in your body tells you to stay awake. You tend to sleep no
more than four hours a day.  In winter, it’s the opposite.
With no daylight, your body needs at least ten hours of sleep.
To personally experience how incredibly dependent on light
our bodies are to function properly is life changing and really
brings home the true importance of light.

258 www.arc-magazine.com www.afconsult.com/lighting

 VarioLED™ Flex VENUS True Color
Dot free encapsulated 3D bendable LED design light
• Optimum rendition of the LED spectrum (no color shift) – True Color
• 3D bendable with a bending radius of 15 cm (5.9")
• Optimal fixture to fixture overlap – no light gap
• Flexibility combined with high durability: IP67 protected against water,
salt water and UV radiation by an opal polyurethane encapsulation

Incheon International Airport, South Korea.

Lighting design: ALTO Lighting, South Korea
Customer: ALTO Lighting & ALTEK Technologies, South Korea

Come and be amazed!

www.led-linear.com