mondo*arc dec/jan 2014/15 - issue 82
DESCRIPTION
mondo*arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market, mondo*arc offers insightful editorial on architectural, retail and commercial lighting.TRANSCRIPT
MANCHESTER SCHOOL OF ART • SAW SWEE HOCK STUDENT CENTREMANCHESTER SPOTLIGHT • MARK RIDLER • END OF YEAR REVIEW
THE INTERNATIONAL MAGAZINE FOR DESIGNERS WITH LIGHT #82 2014
TAKE A BOW!RIBA STIRLING PRIZE SPECIAL: DHA DESIGNS HELP EVERYMAN THEATRE ROMP TO VICTORY
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018 CONTENTS
[dec/jan]
052 Interview Robert Leeming talks to Mark Ridler of BDP Lighting.
Front cover pic: Everyman Theatre, Liverpool by DHA Designs.
022 Editorial CommentOur new Deputy Editor introduces herself.024 PostcardCourtesy of Factorylux and Light Collective.026 HeadlinesThe latest industry news.028 darc awardsNews of an exciting new lighting design awards event.030 BooksLiterature to add to your Christmas wishlist.032 Eye OpenerWembley Arch, Wembley Stadium, London.034 Drawing BoardOur preview of proposed projects.038 SpotlightA selection of brand new projects from around the world.046 BriefingJoe Niemela, Global Coordinator of IYL 2015. 048 SnapshotIntroducing Spanish collective Lupercales.050 Lighting TalkAlex Haw, principal of UK multidisciplinary art+ architecture + design practice, atmos.162 InspirationsNathan Savage Lighting Design.
DETAILS ART & DESIGN TECHNOLOGY
102 Toni Areal, Zurichrealities:united’s installation at the Swiss capital’s University of Arts.104 Van Gogh-Roosegaarde Bicycle Path, AmsterdamStudio Roosegaarde’s glowing tribute.106 Château de Versailles SpectaclesLes Eclairagistes Associates and Crystal bring sculptures and fountains to life. 108 Dark Source StoriesKerem Asfuroglu’s dark vision of light.
112 Case StudiesA selection of projects featuring innovative lighting. Including: Chateau Chaumont sur Loire and gardens by Philips (p112); a spectacular church in Harsefeld, Germany by ERCO (p114); cagey design at the Rock Vault jewellery exhibition by Precision Lighting (p116); the King Abdul Aziz flyover in Riyadh by Huda Lighting (p118); the magnificent Sistine Chapel by Osram (p120); COzwo and Co exhibition by Insta (p121); Saudi National Day by A&O (p122); the Casino Gran Vía in Madrid by Tridonic (p123); a beautifully illuminated pathway to the magnificent Mont Saint-Michel by LEC Lyon (p124).127 End of Year Technology ReviewThat was the year that was with Dr. Geoff Archenhold.138 Bench TestDavid Morgan looks at Soraa’s range of AR111 lamps that’s turning the world of LED lamps on its head.140 2014 Product Round UpOur pick of the best product launches this year.160 Event CalendarYour global show and conference guide.
104
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020 CONTENTS
[dec/jan]
PROJECTSPROJECTS
060 Everyman Theatre, LiverpoolThe winner of the RIBA Stirling Prize owes a lot to DHA Designs’ immaculate lighting treatment. 068 Saw Swee Hock Student Centre, London School of EconomicsChapmanBDSP is on the money for this BREEAM Outstanding rated project.
PROJECTS
OnlineWatch RIBA video commentaries of the Stirling Prize shortlisted projects, including lighting insights, on www.mondoarc.com
076 Manchester School of ArtArup’s Manchester lighting designers are masters of their craft at this artistic RIBA shortlisted building.
084 Manchester Library & Town Hall The past is brought to life with modern lighting design from BDP in one of the finest civic complexes in the UK.
094 55 Princess Street, ManchesterLighting design by Hoare Lea is pivotal to transforming this modern office space in the heart of the city centre.
100 No. 1 Hardman Street, ManchesterLight Bureau, working with Lumenpulse, were tickled pink to be working on this façade project.
Pic: © Lawrence Furzey
068 084 100
I’m an architect.I don’t design buildings.I design places where people feel good.I don’t start a project by sitting down in a quiet office.I sit in the busiest café in the busiest place in the city.I watch the people.Hear the stories.Smell the scents.Feel the light.I sit there and wait until an idea strikes.Until it nudges me and says, “This is how we’ll do it. Exactly like this.”I’m an architect.I don’t design buildings.I design places where people feel good.
Inspiration is found wherever you look for it.Find your lighting solution at www.erco.com/inspirations
ERCO, the Light Factory.
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022 DETAILS
[editorial]Paul James, editor, writes: This issue of mondo*arc stays close to home with an all-British cast - something we’ve never done before. But when you have a RIBA Stirling Prize where lighting has been so important to the shortlist’s success, and when you have a range of projects becoming live in our home town of Manchester, the temptation was too great.The quality of lighting design in the UK has been of an extremely high standard for years now and the profession is booming. We estimate around 200 practices operating today (with half of those in
London), a figure that has increased hugely over the last five years as ever younger lighting designers such as Paul Nulty and Michael Grubb take the plunge and found their own (extremely successful) businesses. As is the way with these huge projects, it was the lighting design departments of consulting engineers that were prevalent in the RIBA Stirling Prize shortlist with Arup (Manchester School of Art, Aquatics Centre and The Shard), ChapmanBDSP (Saw Swee Hock Student Centre, LSE), Happold Lighting (Library of Birmingham - mondo*arc issue 76) all featuring. But it was a good old lighting design practice that prevailed with DHA Designs contributing hugely to the rejuvenating scheme by Haworth Tompkins Architects. Brought on to the project back in 2011, the Everyman success story is the classic tale of involving a good lighting design team early on in the process so that the ideas and goals of the lead architects can be achieved with a minimum amount of fuss and the input of the lighting designer can be taken on board. All of the shortlisted projects are a celebration of architecture. I am glad to see that they are also a celebration of lighting design and the importance of our profession to the majesty of architecture.• Following the departure of Pete Brewis it just remains for me to give a big welcome to Helen Fletcher, his replacement, who introduces herself below. You’ll more than likely be seeing Helen with myself and Rob Leeming (who is responsible for the fabulous interview with BDP’s Mark Ridler in this issue) at an event near you soon.
EditorialEditorPaul James ([email protected])
Deputy EditorHelen Fletcher ([email protected])
Editorial AssistantRob Leeming ([email protected])
AdvertisingAdvertising ManagerJason Pennington ([email protected])
Advertising Sales ExecutiveJohn-Paul Etchells ([email protected])
Advertising SalesAlex Brackin ([email protected])
SubscriptionsAmy Wright ([email protected])
ProductionDavid Bell ([email protected])
Mel Robinson ([email protected])
Dan Seaton ([email protected])
ChairmanDamian Walsh ([email protected])
Finance DirectorAmanda Giles ([email protected])
Credit ControlDonna Barlow ([email protected])
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Helen Fletcher, deputy editor, writes: As this is my first issue on mondo*arc let me take the opportunity to formerly introduce myself! Having made the move from the world of entertainment technology - working as deputy editor on sister title mondo*dr for two years - I am looking forward to my next challenge and immersing myself into the world of architectural lighting. While I’ve only been with the team for a few weeks my taste for lighting design and the endless creative
possibilities surrounding it, is growing fast. I’m looking forward to meeting you all over the coming months, whether at a tradeshow, press event, or our very own darc awards, which has just launched. Feel free to stop and say hello if you spot me in a crowd and if you have any pearls of wisdom you can pass on I’ll be more than happy to soak it up!
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#3 Institute Du Monde Arab
In the early days of my (Martin Lupton) journey into the world of light and lighting design, the Institute Du Monde Arab (or Arab World Institute in English) was one of the first amazing buildings I learnt about at the Liverpool School of Architecture. I couldn’t believe the design of the solar shading system. It was such an astonishing concept that not only dealt with the issues of solar shading but did so in a way that visually responded to the purpose of the building celebrating Arab culture and its relationship with France in a completely contemporary way. Looking back at it in 2014, I realise such a complex system in 1987 must have meant overcoming immense technical challenges. The architect of this masterpiece was Jean Nouvel and AS. Architecture-Studio (who still have an image of it on the front page of their website!) and the lighting design, presumably including some of the daylight modelling, was done by Dr Heinrich Kramer - one of
pioneers of architectural lighting design in Germany. The masterpiece of the design and subject of our fascination is the South Façade - a modern interpretation of an Arabic Mashrabiya. A Mashrabiya is a wooden screen that masks the exteriors of buildings or windows, traditionally found throughout the Arab East. Generally consisting of a lattice of intricately carved wood and sometimes open to allow airflow, this traditional technique protected the interior from the sun and noise and created privacy from the passing street. The Nouvel version works in the same way with the façade creating a corridor space between itself and the main building: corridors of natural light.The Institute Du Monde Arab version of the
Mashrabiya contains in excess of 20,000 individual openings and each one of these, in their varying sizes, were designed to work like the aperture in the lens of the camera. The lighting control system measures the sunlight and daylight availability or intensity and then reduces or increases the size of the aperture according, at the same time, as varying the artificial lighting. It’s a wonderful blend of relatively lo-fi and well proven technology and what must have been quite new lighting control technology on a massive scale. It reportedly took them two years to even get a working prototype.When I next visited Paris, I made sure to visit the building and, walking past the windows of what felt like the future of architecture, made a great impression. Looking at it now, 27 years after its completion, it is still stunning and I can’t think of another daylight control system that has impressed me as much. In all the buildings that have been constructed since, only a handful have considered daylight control. We still continue to create windows in a formulaic and uncreative way. There is an urban (architecture) myth that it never worked. Did it? Does it still work? If it doesn’t, how long ago did it fail? Even if it doesn’t work, it almost doesn’t matter - it is such a beautiful idea. Jean Nouvel’s work has gone from strength to strength and he is undoubtedly a master of light. We can’t wait to see the new Louvre in Abu Dhabi. The visuals show a stunning main space lit with a perforated ceiling that allows natural light to penetrate the space and create patterns of dappled light throughout it.www.urbancottageindustries.com/filament-light-bulbs/low-energy-light-bulbswww.urbancottageindustries.com/factoryluxwww.lightcollective.net
In the early days of my (Martin Lupton) journey into the world of light and lighting design, the Institute Du Monde Arab (or Arab World Institute in English) was one of the first amazing buildings I learnt about at the Liverpool School of Architecture. I couldn’t believe the design of the solar shading system. It was such an astonishing concept that not only dealt with the issues of solar shading but did so in a way that visually responded to the purpose of the building celebrating Arab culture and its relationship with France in a completely contemporary way. Looking back at it in 2014, I realise such a complex system in 1987 must have meant overcoming immense technical challenges. The architect of this masterpiece was Jean Nouvel and AS. Architecture-Studio (who still have an image of it on the front page of their website!) and the lighting design, presumably including some of the daylight modelling, was done by Dr
pioneers of architectural lighting design in Germany. The masterpiece of the design and subject of our fascination is the South Façade - a modern interpretation of an Arabic Mashrabiya. A Mashrabiya is a wooden screen
NO 000001
The two paragons of cool, Factorylux and Light Collective, have teamed up to release a series of natural light in architecture cards, exclusively available through mondo*arc and its sister title darc. Each issue, Light Collective will explain the reason for their choice and then, inserted in each edition, will be a limited edition print.
024 DETAILS
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© Corbis
news headlinesout of darcness
comes light...
a unique international decorative and architecturallighting awards concept and event from featuring
sponsors
mondo*arc and darc launch darc awards
(International) - New international architectural and decorative lighting
design awards launched in collaboration with Light Collective.
Read the full story online...
New era for John Cullen Lighting(UK) - Peter van der Kolk joins London-based lighting manufacturer as Chief Executive Officer.
Read the full story online...
Into Lighting celebrates 35 years
(UK) - UK lighting design practice established in 1979 celebrates landmark year.
Read the full story online...
Hess strengthens in Austria
(Austria) - Hess opens subsidiary in Austria with Christian Schmid at the helm.
Read the full story online...
The Lighting Practice celebrates 25 years in lighting design
(USA) - Philadelpia-based practice reaches quarter of a century this month.
Read the full story online...
Crestron Chairman and Founder Dies Aged 73
(US) - George Feldstein dies aged 73 following battle with brain cancer.
Read the full story online...
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eGlobal Design Solutions team up with ETC
(UK / USA) - GDS and ETC forge North and South American partnership.
Read the full story online...
For the latest news stories, head
online: www.mondoarc.com
026 DETAILS
7
In pictures 1 The new awards format and event will be a breath of fresh air. 2 Christian Schmid. 3 George Feldstein. 4 Pictured clockwise: Helen K. Diemer, FIALD, LEED AP; Alfred R.
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Borden, FIALD; Jered E. Widmer, MIES, IALD; Michael A. Barber, Associate IALD, LEED AP BD+C. Photography by Emad Hasan, The Lighting Practice. 5 The Into Lighting team. 6 Sally Storey,
Design Director and Peter van der Kolk, CEO at John Cullen Lighting. 7 ETC will manufacture the GDS ArcSystem and BluesSystem product lines for distribution in North and South America.
[darc awards]mondo*arc and darc magazines, in collaboration with Light Collective, are launching an exciting new
international lighting design awards with a fresh format.
028 DETAILS
The darc awards is a unique concept utilising mondo*arc and darc magazines’ reputation as being the most widely read and respected lighting design publications in the world.“With our database of over 1,000 interna-tional lighting design practices, as well as interior designers and architects, there is a unique opportunity for every practice to get involved in the awards process,” comment-ed Paul James, awards director and pub-lishing editor of mondo*arc and darc. “We intend to make the darc awards the most accessible and global awards programme ever. After the shortlists have been chosen by an expert panel of international lighting designers, each of the 1,000+ lighting design practices and their designers will be invited to vote on their favourite projects via our
specially developed website. Using the model developed by the Oscars where all members vote on the work of their peers, the darc awards will give every designer a vote, making this the only truly peer-to-peer lighting design awards in the world.”We have formalised a list of categories that is a reality check to the other award cer-emonies. Each award will be split into low and high budgets, thus allowing the smaller projects a chance to compete for each category and not just given a token ‘Special Projects’ award.Martin Lupton and Sharon Stammers of Light Collective are excited by the prospect of a pluralistic awards event: “Having been involved in many lighting awards programs over many years, this is a great opportunity to build on all of those experiences and try
to create a different version of celebrating the best of lighting design where the judg-ing is in the hands of everybody. Helping to shape darc night in collaboration with mondo*arc and darc has given us a chance to create an awards ceremony that is by the people, for the people – it’s the Oscars of lighting design!”All the projects and the companies who have submitted them will be present on the website so that, over time, the darc awards website becomes a comprehensive online lighting design resource that can be used by designers and clients alike for inspiration.There will also be product categories (two architectural and one decorative) that will follow the same philosphy resulting in a comprehensive online database of products.Nick Hoggett, partner at dpa lighting con-
Nick Hoggett, Partner at dpa lighting consultants
029
partners
“I feel the darc night concept is excellent because the projects will be assessed by a
wide group of international independent lighting designers and established light
artists. This will reflect a truly global opinion of well informed and experienced
practitioners engaging many people in the judging process rather than the normal
select few. I know the team behind this will deliver something completely different
and special which will be refreshing amongst the plethora of awards programmes
that feel so similar.”Nick Hoggett, Partner at dpa lighting consultants
“Having been involved in many lighting awards programs over many years,
this is a great opportunity to build on all of those experiences and try to create
a different version of celebrating the best of lighting design where the judging
is in the hands of everybody. Helping to shape darc night in collaboration with
mondo*arc has given us a chance to create an awards ceremony that is by the
people, for the people - it’s the Oscars of lighting design!”Martin Lupton and Sharon Stammers, Light Collective
sultants, has no doubt that the format will be a success: “I feel the darc night concept is excellent because the projects will be assessed by a wide group of international independent lighting designers and estab-lished light artists. This will reflect a truly global opinion of well informed and experi-enced practitioners engaging many people in the judging process rather than the normal select few. I know the team behind this will deliver something completely dif-ferent and special which will be refreshing amongst the plethora of awards programmes that feel so similar.”Following the voting process the awards ceremony will take place as part of darc night in September 2015. This will be an atmospheric party in a unique venue in Lon-don. Imagine light art, street food, lighting
installations… this breaks all the awards rules and will be unlike any other awards ceremony to date.Each manufacturer partner will be able to show off the capabilities of their product via a series of light installations from collabora-tions with lighting designers. Currently the manufacturer partners con-sist of Lucent, Megaman, Innermost, LSE Lighting, KKDC and Concord. A maximum of twelve partners will be involved in order to create a dozen inspiration spaces at the specially selected venue in London next September.darc night will be part of the IYL2015 (International Year of Light and Light-based Technologies 2015 ) related activities program and will be promoted by the L-RO (Lighting-Related Organizations) to raise
awareness for the lighting design profession and showcase the importance and beauty of light.Paul James, awards director and publishing editor mondo*arc / darc, commented: “We are very pleased that the event is part of the L-RO, such a progressive organisation for the promotion of light. We will be adding to the program with darc night, our own special celebration and we are extremely excited about the concept.”The darc night launch party will take place on February 5th 2015 at Dilston Grove, Southwark Park, Bermondsey, London featuring a special lighting scheme by Light Collective and will also feature an anima-tion by Kerem Asfuroglu of Speirs + Major with his Dark Source series.www.darcawards.com
Nick Hoggett, Partner at dpa lighting consultants
030 DETAILS
[books]The Fabric of PlaceEditors: Bob Allies, Diane HaighPublisher: Artifice£19.95 paperbackISBN 978-1-908967-38-1
Cities are the product of a myriad of forces. Their forms and structures evolve over centuries and articulate the relationships between us, their citizens, how we live, work and connect. Although constantly changing, they are also remarkably fragile, particularly in these times of rapid expansion and consequent pressures for increased density. Cities need careful cultivation by all involved in making proposals for their growth, if new projects are to support the continuity of the existing city fabric, reinforce the particular identity of place and provide new workable living environments. Through their urban design work in many cities, Allies and Morrison have participated in ongoing discussions around many current issues. This book combines insights about how cities work with observations on how development plans can help, or hinder, their further evolution. Written by people in the practice, it draws together the rich ideas, theories, precedents and explorations that have informed their work and illustrates them with case studies of individual projects including projects covered in mondo*arc - Royal Festival Hall, Kings Cross Central and Olympic Games and Legacy. The Fabric of Place: Allies and Morrison reflects on work-in-progress, as continuing conversations between theory and realisation.
Lighting Design & Process Editor: Office for Visual InteractionPublisher: Jovis$65 hardbackISBN 978-3-86859-256-6
We are big fans of OVI here at mondo*arc. The Office for Visual Interaction has created some of the world’s most inventive lighting designs, illuminating prominent buildings around the globe. The New York Times building, the Perot Museum of Nature and Science, street lighting for the City of New York, the historic Rookery Building in Chicago, Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute and the Scottish Parliament (all featured in mondo*arc) are just a few examples from the OVI portfolio that have captivated designers and the public alike. As the name implies, OVI is inspired by light’s interaction with finishes and materials, so that light and shadow become a natural extension of the architectural language, integrated seamlessly into the building’s structure, rather than applied as an additional element. The book is a beautifully illustrated monograph of the work of OVI with more than 400 images, sketches and graphics. However, more than this, the book reveals lighting design techniques used in their projects. Layered Lighting, Filtered Light, Lighting Niches, Transparency & Depth of Space and Integration are among some of the gems of advise offered to the reader. A must have for the lighting design student!
Space for Architecture: the work of O’Donnell + TuomeyAuthors: Sheila O’Donnell, John TuomeyPublisher: Artifice£29.95 hardbackISBN 978-1-908967-47-3
The Dublin-based architectural practice O Donnell + Tuomey has been involved with urban design, educational and cultural buildings, houses and housing projects in Ireland, the Netherlands and the UK for many years. Their Saw Swee Sock Students Centre at the London School of Economics project (included in this issue) was shortlisted for this year’s RIBA Stirling Prize. In fact, eighteen pages of text (but mostly pictures and drawings) are dedicated to the project in which the lighting, done in conjunction with ChapmanBDSP, is so important. Sheila O Donnell and John Tuomey, who both teach at University College Dublin and lecture internationally, look at the way in which different geographical, social and political influences have shaped their work and approach to architecture generally. The book is divided into eight sections, each dealing with a different aspect of the practice’s concerns: Studio, Courtyards, The World Outside, London Times, Subtraction and Addition, Venice Excursions, Building Ground and Cats Cradles. Specific photographic documentation has been produced for the purpose of inclusion in this book, so as to evoticatively capture the essence of the practice.
perfect lightLight reinvented for you. Sento – the LED revolution.
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Pics: Thorn Lighting, Wembley Stadium connected by EE, London, UK
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Following a longstanding partnership between Thorn Lighting and Wembley Stadium stretching some four decades, the latest phase of illuminating this historic sporting venue is the lighting solution for the Wembley Arch, a 133 metre high landmark structure.Thorn has been lighting up the Empire Stadium – as Wembley was known at the time – since the 1970’s. And when the new Wembley Stadium was opened in 2007, Thorn was the lighting partner responsible for its illumination. Almost 41,000 luminaires are installed at Wembley, the vast majority of them from Thorn. With the new lighting solution for the eye-catching Wembley Arch, the stadium’s landmark structure now also appears in a whole new
light. The specially developed LED lighting solution means that the arch can be lit up in the full spectrum of colours and with countless lighting scenarios.
With a span of 315m and a diameter of 7.4m, the arch is the longest single-span roof structure in the world. It is so big that the London Eye could fit beneath
it. When lit on a clear evening, the arch can be seen from 20 kilometres away. To facilitate installation, Thorn coordinated and designed a
custom bracket to allow the existing fixings to be used. At the core of the lighting solution are the lighting controls that enable
maximum use to be made of the rich and varied possibilities offered by the LED lighting system.
www.thornlighting.com
Wembley Arch, Wembley Stadium, London, UK
eye opener
[drawing board]The latest exciting works in progress from the world’s most imaginative designers.
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VOICE OF THE BEEHIVEWolfgang Buttress is leading a UK team to design the British Pavilion at the 2015 World Expo in Milan, the theme of which is ‘Feeding the Planet Energy for Life’.The UK pavilion highlights the plight of the honeybee and ways in which new research and technology are helping to address challenges, such as food security and biodiversity. The UK pavilion draws parallels between human societies and the ecology of bees. Visitors meander through an orchard, discover a meadow of wild flowers and enter ‘The Hive’; which pulses, buzzes and glows according to live-streamed signals
from a real beehive.The hive is a 14m cuboid aluminum lattice structure, raised-up on columns, with a spherical void hollowed from its interior into which visitors can enter. The fine aluminum lattice is based on an abstracted-analogue of honeycomb, the effect is visually arresting and striking, yet permeable and delicate lending it an ethereal presence.Accelerometers (vibration sensors) are used to measure the activity of a real bee colony in the UK, feeding real-time signals to a 1,000 RGBW LED light array.
Algorithms are used to convert the bee colony vibrations into lighting effects. Each light is individually-addressable allowing for the hive to pulse and glow in response to the signals it receives, so acting as a visual representation of bee activity. Acrylic rods conduct light from the LEDs into hand blown glass bulbs which refract and diffuse the light. This unison of light and sound brings together art and science, through the research methods of Dr Martin Bencsik and the vision of Wolfgang Buttress. www.wolfgangbuttress.com
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[drawing board]
REDI STEADY GO!Lighting Design Collective’s Helsinki office, in collaboration with their Madrid office, is currently developing an interior and exterior lighting design, digital content design and large scale light art interventions for the Kalasatama Centre in central Helsinki, Finland. This high-rise destination on the old harbour in eastern Helsinki will consist of eight tower blocks with between 20 and 33 storeys, located on both sides of the Itäväylä route. There will be apartments for over 2,000 residents, commercial premises, a cinema, a hotel, offices, a transport terminal and a centre for health and social care in the centre. The scheme also includes extensive public realm and landscaping by Maanlumo landscape architects. The commercial centre for Kalastama will be the Redi Shopping Centre, which will consist of 58,000 sqm gross leasable area and house both global and local retail brands, restaurants and entertainment. The project is developed by SRV and the architecture is by Helsinki based Helin & Co Architects.www.ldcol.com
RETAIL REVAMPLighting Design International are working with Tribeca Holdings to transform three façades of a block on Oxford Street from low grade to high end retail due for completion in the first half of 2015. The lighting is designed to highlight and enhance the original architecture with the latest energy efficient LED technology improving the building’s status on this busy shopping street. Through light trials, LDI has been able to specify precise optics to maximise the drama and impact of the scheme. The lighting also aims to unify the various different building styles giving the individual stores more presence in this ever-developing retail environment.www.ldi-uk.com
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kim_ltv8_mondo.indd 1 12/2/14 3:10 PM
[spotlight]The latest projects with the wow factor from around the world.
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THE SKY HAS NO LIMIT On the evening of August 29, historical French theme park Puy du Fou became the world stage for a technology breakthrough. For the first time, flying drones descended on the park to deliver a first-class live per-formance of the park’s renowned evening spectacle ‘Cinéscénie’.Commissioned in 2013 to revamp the lighting sceneography of Cinescenie, ACT Lighting’s Koert Vermeulen then had the idea of introducing drones into the show to create innovative choreographies. This new generation of patented entertainment drones are the first in the world that can simultaneously fly within an aerial fleet, performing synchronised choreography in the air or immersed in water, without the need for human intervention.Working together with the General De-
partment of French Civil Aviation (DGAC) and Puy du Fou, around 50 highly qualified ACT engineers, technicians, designers and programmers worked on the project in top secret for over a year before receiving offi-cial approval from DGAC. A carrier of intelligent and independent staging that adds a revolutionary dimen-sion to entertainment shows, the patented ‘Neopter’ drone is built to operate within an aerial fleet of autonomous drones and is able to evolve and dance simultaneously 60-metres in the air, performing flying cho-reography and illuminating decors.Invisible to the human eye during the night sky the ‘Neopter’ includes onboard intelli-gence’, a GPS signal and is able to locate itself in the open air autonomously. It is capable of withstanding strong wind condi-
tions, is fully scalable and can carry sound, video, lighting and scenography, or special effects up to 3kg.Commenting on the technological develop-ment, Vermeulen said: “In my opinion, as an artist and professional working for 20 years in visual and lighting design, for the world’s biggest shows and spectacles such as the ‘Ceremonies of Youth Olympic Games’ in Singapore, ‘Neopter’ is a revolution and our greatest achievement.“Being able to overcome all the technical challenges and develop a solution that en-ables us to freely imagine infinity of artistic and technical possibilities is extremely re-warding. Thanks to our partners at the Puy du Fou from now on, the sky has no limit for our creative imagination.”www.actlightingdesign.com
Pic: ACT lighting design - by Jordi Vandekerkhof
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ENCHANTED FORESTTop tourist attraction ‘Parc de la Gorge de Coaticook’, in Quebec, Canada, is criss-crossed by dozens of trails and boasts North America’s longest suspension bridge, wel-coming 100,000 visitors every year.Wanting to attract a larger and more di-verse group of evening visitors, the park’s team commissioned Moment Factory to create Foresta Lumina, an illuminated night trail through the forest.As the foundation for the enchanted world it would design, Moment Factory took inspiration from legendary characters found in folk tales from Quebec and around the world. After dark, visitors explore the park’s charms, experiencing scenography featuring lighting effects and video mapping accom-
panied by an original soundtrack.Moment Factory created custom elements for each of the trail’s zones: perforated, backlit metal panels inscribed with descrip-tions of the main characters; small lighting units designed to suggest the presence of fairies in the forest; a transparent screen used for a subtle projection in a clearing; and video mapping that brings a dead tree back to life. Moment Factory had to make sure that the technical apparatus used for the experience was solid and reliable for use throughout the seasons.As well as this, the forest setting has no lighting pollution, which made it possible for Moment Factory to work with more fine-ly calibrated lighting effects. The creative
team of 30 also made a point of drawing on local talent by working with a variety of artisans and suppliers based in the area.With most of today’s multimedia expe-riences found in urban settings, Moment Factory faced the challenge of designing and building within a natural setting. The team travelled to the site to soak up the surroundings of the forest and its spaces. Topography, detours and mysteries became the canvas for the experience and by adapt-ing their work to the environment in the most natural way possible and by concealing the technical apparatus, the creative team worked to ensure that visitors would see and hear nothing but magic.www.momentfactory.com
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[spotlight]
GETTING DOWN TO BUSINESSTo the north of Bangalore, India, is Manyata Embassy Business Park, one of the largest operational technology and business parks in the country. Home to both global brands and small start-up companies, dpa lighting consultants developed and implemented a lighting plan for the entire site including the soft and hard landscaping, pedestrian and vehicular circulation, and building facades.Greeting visitors to the site, at the centre of the entrance plaza, sits the Binary Sculp-ture artwork. dpa worked closely with artist Romicon Revola, to implement her vision of creating a sculpture whose form was expressed by concealed integrated lighting. The sculpture itself is a three-metre cube constructed from stainless steel, with each of the four visible faces featuring an array of 0 - 1 binary cut-outs, making reference to the IT nature of work of many of the park’s companies. Located directly behind each cut-out is a Traxon Dot XL-6 RGB LED module, each individually addressable and programmable through Traxon’s Butler XT2 control system - allowing its colour, bright-ness and fade rate to be controlled sepa-rately from all of the other nodes, hence 0 or 1, in the installation. This permits for an almost endless number of visually dynamic effects to be created, resulting in a vibrant, eye catching piece of artwork.www.dpalighting.com
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[spotlight]
MOVEMENT IN THE SHADOWSA venue of the 1952 summer Olympics, Ahvenisto swimming pool in the city of
Hämeenlinna, Finland, has been given a facelift with the help of a new light art
piece.Protected by Finland’s National Board of Antiquities, the swimming pool’s service building façade now features a light art
installation from WhiteNight that integrates the building’s history and features silhou-
ettes of human figures on the wall – all real people form photographs taken in 1952.
The façade has two types of figures – the swimmer, which plays the biggest role and gives out a moving shadow throughout the day as if the swimmer is jumping into the pool. Then other figures - runner, shooter, show jumper and fencer - are made from
173 lamellas and are seen in their entirety when viewed from a particular angle, but
then hidden when looking at them straight on. The direct sunlight brings out the shad-ows of the lamellas and creates a constant-
ly changing image. A cloudy sky hides the figures when viewing them from the front
and direct sunlight gives out clear shadows and creates movement on the figures.
During the evening, the yellow / orange facade is lit from below giving the figures a
different feel and look again compared to their daylight appearance.
www.whitenight.fi
PATHWAY OF LIGHTAs part of the 25th anniversary celebrations of the fall of the Berlin Wall, temporary light installation ‘Lichtgrenze’ - meaning ‘The Border of Lights’ - was created, which followed the former route of the so-called Berliner Mauer.Brothers Christopher and Marc Bauder conceived the idea of ‘Lichtgrenze’ in 2011, supported by the Robert-Havemann-Ge-sellschaft and developed with the help of Kulturprojekte Berlin.For three days during November, the 15.3km frontier that once divided the city was re-imagined in light by thousands of illuminated balloons, developed and produced by WHITEvoid. Running through the centre of Berlin from Bornholmer Straße to the Oberbaumbrücke, the installation stretched past the Mauerpark, along the Berlin Wall memorial on Bernauer Straße through to the Brandenburg Gate, over Potsdamer Platz to Checkpoint Charlie and on to the East Side Gallery.www.whitevoid.com
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[spotlight]
ILLUMINATED BEAUTYAs part of the Mike Stoane Park Event, Tom-maso Gimigliano and Ingo Kalecinski of dpa
lighting design entered a luminaire entry that saw style and LED come together.
Using a box full of components, LED mod-ules and other various items, their chal-
lenge was to create some sort of lighting object. Their concept, was to create a
wearable aura of light, that was able to instill wellbeing, while defining the bound-aries of a personal micro-cosmos of warmth and comfort - the end result was the Neck-
Led, a battery operated LED necklace.www.dpalighting.com
FOUNTAIN FOCUSOnce a derelict social housing block in London, the Stanley Building St Pancras, has been redesigned by James Wells Architects – working in conjunction with Environmen-tal Engineering Partnership and The Office Group - into a design-led, flexible office space featuring a new build wrap construct-ed around it.Blackened steel stairs link and visually join two buildings, with a ‘light fountain’ using EncapSulite 24v RD twin stick LEDs 1,525mm in length - providing the sole source of light within the stairwell.A total of 80 lights have been thru wired and suspended in 40 pairs end to end, while nine lights have been suspended end to end in groups of six. Three lights are powered from above and three are powered from the floor - giving a total of 98 lights are used for the light fountain.www.encapsulite.co.uk
www.kkdc.co.uk
R197.1
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R1496.8
Colour Rendering Index (CRI)
new UltraCRI
[briefing]
We speak to the Global Coordinator of IYL 2015 (International Year of Light and Light-based Technologies) for UNESCO, at the Secretariat - International Centre of Theoretical Physics (ICTP).
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What is your area of specialisation in physics and your role in ICTP?My area of specialisation is in low temperature physics and fluid mechanics, mainly studies of very turbulent flows under well-controlled laboratory conditions.My role at ICTP is as Head of the Applied Physics Group and also as Head of the Office of External Activities (OEA). The OEA is responsible for many networks and centres of excellence around the developing world; it supports workshops, conferences and schools worldwide; it has programs that bring qualified experts to institutions in developing countries (Visiting Scholars Program) and brings experimentalists from developing countries to Italy for long term collaborative studies (TRIL Program).
How is the International Centre of Theoretical Physics linked with UNESCO?The ICTP is a Category I UNESCO Institution. In this case UNESCO is one of three partners under a tripartite agreement that governs the ICTP: The State of Italy, the International Atomic Energy Agency (IAEA) and UNESCO. ICTP and UNESCO HQ have many direct links in a number of programmes, some of them directly connected with IYL, such as optics education programs for teachers and the SESAME project - a synchrotron light source being built in the Middle East, and serving as the major effort to date in science diplomacy. We also work together to help set up and maintain UNESCO Category II Scientific Centres in developing countries and of course we are working hand-in-hand in making sure that IYL2015 is successful.
What is the UNESCO International Basic Sciences Program?The UNESCO International Basic Sciences Program (IBSP) was established by UNESCO Member States in order to reinforce intergovernmental cooperation and co-operation between partner organisations in science to strengthen national capacities in the basic sciences and science education. One of the programmes that is overseen by the IBSP is the Active Learning in Optics and Photonics (ALOP) Program, which is designed to train secondary school and university instructors in developing countries on modern inquiry-based techniques for teaching optics in their classes.
What is the main goal of UNESCO for IYL2015? There are many goals for IYL2015 that apply to UNESCO. An overarching goal is to simply bring awareness of the potential of light and light technologies to improve the quality of life for the billions of inhabitants of the planet. However, specifically the education of youth is a target - using light to motivate the study of science and also to aid in the capacity building process in
developing countries, recognising that optics and photonics for example, are ‘enabling’ sciences. Improving the situation for women in science goes with any Year that has a scientific component and this is a very important theme for UNESCO. Finally, having lasting or ‘legacy’ actions resulting from the IYL in the area of education and training is a key goal for UNESCO.
What do you think is the effectiveness of having an ‘International Year of...’ in general and do you have proof to show that has been beneficial for other subjects? Having an International Year of anything is almost uniquely effective at bringing diverse groups together in a common area. It is an opportunity to talk to people whom we don’t usually talk to. This is one of the most diverse Years that has been declared, bringing scientists, lighting designers, philosophers, light artists, architects, etc. together, all under the theme of light. An important group to include are policy-makers, because raising awareness with them can have a lasting impact in mutually beneficial ways. It is difficult to measure the effectiveness of intangible actions during the Year, but the legacy of an International Year is easier: in the case of the Year of Physics, for example, the importance of education reform and entrepreneurship training for scientists was recognised and several long-lasting programs developed from this, including programs in Physics education, began with a collaboration between ICTP and IUPAP, and very successful Entrepreneurship Workshops began with a collaboration between ICTP and IOP in London. These programs are still going strong ten years later.
What should the role of Lighting Designers be in IYL2015?I think the role of Lighting Designers should be....BIG. Really, when
we discuss quality of life, we not only mean, for example, new technologies for medical treatments - when and if we need
it, but also the role of proper lighting in improving the quality of everyday life. The architect Frank Lloyd Wright
understood this well early in his design of buildings and homes but it is not clear that many people around the world even now have a proper appreciation for how light can affect the way they think and feel,
and how easily it can be accomplished. To me this is one of the most important messages to be conveyed during the Year of Light. And not just in the home. Proper lighting of outside areas can turn unsafe areas into safe ones, can open up parks and inner city neighbourhoods at night
so people can enjoy the place they are living and generally can help to lift the spirits of an inner city
population and help to create communities. That is what we are ultimately after with an International Year:
creating a wider community around the world, one that preferentially sees light instead of darkness
(unless, of course, it is a star-filled sky - another area where proper lighting
can help).www.l-ro.org
JOE NIEMELA
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[snapshot]Introducing Lupercales, a collective project led by lighting designers Alberto Barberá, Irene Bas and Paolo Portaluri, along with architecture photographer Alvaro Valdecantos.
Commissioned by Elisava Barcelona School of Design and Engineering, IlluminActions was set up as a practical, week-long
workshop held during the EME3 International Architectural Festival in Barcelona. The festival aims to showcase alternative ways of
working with architecture and explores participatory development and urban planning. Thirty international students and professionals joined forces to work within former fabric factory, Fabra i Coats -
part of the industrial heritage of Barcelona, that today plays host to a cultural centre and community services - to transform the space
into various concepts using different forms of light, giving value and interest to a complete programme of activities carried out during
the festival period. Lighting the festival areas and venues involved the coordination and collaboration of a number of institutions and
involved products from LED Linear, supplied by Difusiona, ERCO, Insta Lighting, Viabizzuno, Delta Light, Performance in Lighting,
Rosco, and iGuzzini.
ILLUMINACTIONS, BARCELONACLIENT: ELISAVA BARCELONA SCHOOL OF DESIGN & ENGINEERING
EVENT: EME3 INTERNATIONAL ARCHITECTURE FESTIVAL
Taking place over six days, Barcelona Urban Lighting Festival features a large programme of performances, installations, workshops and conferences. As part of this year’s festival, Lupercales hosted a student workshop with the aim of illuminating the Rubió i Lluch public gardens, which finds its home in a former hospital complex featuring gothic architecture elements and buildings from the 15th Century. Through a number of student workshop sessions focusing on lighting techniques and state-of-the-art outdoor lighting, the final design proposal was to alter the nocturnal image of the garden space, gently and respectfully distorting the luminous during the evening hours when no special activity or event was taking place. It was essential that while the light design worked to bring the space to life at night, the importance of social context remained - designing a project suited to public space and creating a community. Through this project - combining practical education through hands-on practice and thorough research - the basics of Lupercales’ educational projects were founded.
RUBIÓ I LLUCH GARDENS, BARCELONAEVENT: LLUMBCN - BARCELONA URBAN LIGHTING FESTIVAL
049
LUPERCALES, SPAIN• DESIGNERS & WORKSHOP TUTORS: Alberto Barberá, Irene Bas, Paolo Portaluri • PHOTOGRAPHY: Álvaro Valdecantos • HEAD OFFICE: Barcelona, Spain • ESTABLISHED: 2012 • CURRENT PROJECTS: Guerrilla Lighting, Donostia-San Sebastian; Lighting Workshops in Istituto Europeo de Design & MasterDIA, Madrid; Master in Lighting Design Universitat Politécnica de Catalunya, Barcelona; temporary project in FILUX-México DF, Mexico; lighting installation, Barcelona; lighting landscape intervention in Narkoy.
lupercales.org
In ancient times astronomers used a mirror over their desks to study the movement of the celestial sphere and for centuries people have looked to the skies in wonderment, searching for answers. ‘Memories of the Mirror,’ an artistic installation that aims to create a reflexive and dreamlike atmosphere, uses five circular mirrors - each two-metres in diameter - to articulate a spatial discourse in the space during the daytime. The metaphorical aim of the mirrors is to present the architecture of the space - a gothic courtyard of a former convent - and to reflect the darkness of the sky. For the 2014 edition of LlumBCN Urban Lighting Festival - in collaboration with Lamp and Difusiona, which supplied products from eldoLED and LED Linear - Lupercales expanded Memories of the Mirror’s lighting workshop to include a complete education programme. The education programme saw Lupercales working in downtown Barcelona with young people who had left school before completing their degrees. The students, that were following a first-job oriented programme in electrical installations and maintenance, attended classes on lighting fundamentals and techniques, with the objective being to increase their knowledge while motivating them to look beyond the restricted scope of a basic professional level.
MEMORIES OF THE MIRROR, BARCELONAEVENT: LLUMBCN – BARCELONA URBAN LIGHTING FESTIVAL
As part of the Piazza San Girogio renovation project in Melpignano, Italy, Lupercales created a new lighting system to improve the
look of the space while reigniting the piazza’s function as a social gathering point. The old lighting system, featuring a mixture
of high-pressure sodium, metal halide and compact fluorescent materials, had become tired and neglected and desperately needed replacing. The proposal objectives for the new lighting system were
to highlight the artistic and historical importance of the buildings while creating intimate areas for relaxing and socialising. Lupercales
put together a real-scale mock up of the lighting system allowing neighbours to change the lighting scheme using a simple interface that had been tested in Frankfurt for Luminale 2014. Variations to
the levels and colour temperature of all the lighting groups can also be made and they can also be switched on and off. Using products from acdc and Mariano Light, the luminous emphasis was switched
from the horizontal to the vertical surfaces of the space, while the artistic windows of the church façade were backlit and more
prominance given to the inner open space of the arcades; light accent was also added to functional areas and symbolic elements.
PIAZZA SAN GIORGIO, MELPIGNANOCLIENT:MELPIGNANO CITY COUNCIL
DESIGN TEAM: IN.CUL-TU.RE, CITTÀ FERTILE, SCIE URBANE, LUPERCALES
[lighting talk]This issue we talk to architect Alex Haw,
founder of atmos, a multidisciplinary art
+ architecture + design practice.
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... what made you become an architect?The desire to make art useful. To make space meaningful. To enliven and enrichen our collective everyday experiences. To be of use, but to deploy grace while doing it. While our more abstract cultural worlds (of, say, cinema, music and literature) feel well-mined and explored, our spatial world feels neglected; there’s lots of important work to be done there.
... how important is lighting to your designs?We’re primarily visual designers - we design stuff to be seen - so light is crucial; we’re always thinking about how a surface or space is revealed or articulated from darkness. Our days are longer than our nights; air and light are our predominant context, so we have to design with them. Our more architectural work is a careful choreography of the intricate relationship between humans and nature - between the artificial light we use to simulate sunlight, and the vicissitudes of the sun itself; an exploration of how humans want to control and alter their environment. Our earlier artworks were obsessed with the rhythms and geometries of sunlight - and now seem to be more focused on humans.
... why is spending time thinking about and working with light important to you?To my mind there are two predominant competing narratives on the origin of architecture. One negative, one positive: structures that negate weather (through walls and roofs), or spaces that create light and warmth (through fire). Light is our vestige from fire; that burning heart at the core of all spaces and buildings that attracts and magnetises, feeds and fascinates - and creates the very essence of our culture. We all surf light, bathing in the data it carries - it’s our main medium of information, communication and entertainment. There’s something deep and ancient and tribal about our luminous rituals - whether it’s the hands holding glowing mobiles aloft at light-blasting concerts, or the dim rural streetlight flickering into life from the shadows. One of our first installations, LightHive [1] - an immersive 3d recreation of all of the Architectural Association’s sources of light, activated through surveillance of real-time occupancy - was about the way light symbolises humanity; how the quality of light we create maps our activity; and how we effectively emit light, like a spider spins fibre or a bee makes honey. When the world descended on London for the 2012 Olympics, we designed a vast dining landscape (Worldscape [2]) made from its contours, complete with 3d mountains and ocean trenches, from which we served a different slice of globally-imagined but locally-created world food - by chefs of hybrid nationality now living in London. The main tabletop surface was a giant map, divided by longitudes and latitudes and pock-marked with cities which glowed according to the light pollution they emit - diners thus illuminated by the collective effect of people congregating across the planet.
... about the role lighting plays in the light of the city? How do you contribute to that?The city creates a shadow on the landscape, and then has to illuminate it; lighting is the complement to colonising landscapes. Light is the medium that we use to create spaces of safety and opportunity; it allows us to cheat extra time from the day - to prolong life. It’s our prime mode of communication - whether as billboard or traffic light; a kind of ambient grid that brings order and structure, yet flutters with lifefulness; like food, both necessary and indulgent, a practicality transformed into art. In a time when our façades fill with screens and our cities with devices, we’re interested in exploring the
ways architecture can double as a form of spatial video. The trading activity at Canary Wharf is intimately connected to various parts of the globe, yet separated by a local differential in sunlight. Our Sunlands [3] project expresses this intricate local relationship to the globe by mapping the realtime quality of the whole world’s sunlight into one unified body of water - its Middle Dock - so that passersby (many working across time-zones) could visualise a more meaningful reality behind their abstracted relationships with the rest of the globe.The brief for our Mobile Orchard [4] project was to bring a tree to life within the City of London; we designed an inhabitable tree-like installation that welcomed its visitors with sensually-carved integrated public seating - and fed them with real apples. Like a tree, it pulsed with life - its electric xylem flowing through its manufactured bark, luminously telling the local time much like a tree indicates seasons; beating out a rhythm to the surrounding workers.
... how do you approach lighting a building through architecture?Given we’re mostly awake during daylight hours, architecture’s prime relationship is with sunlight and daylight - so our key explorations involve choreographing sunshine and cloud reflections. Wherever possible, we try to help people visualise their geo-temporal relation to the sun and the solar system. For one residential project (The Origin of Spaces), we even inscribed the movements of annual solar movement as patterns across the wooden floor. As architects, we draw lines; as people, we draw invisible lines through space, which lighting reveals. In Roominaroom [5], a tiny residential space takes its visitor on an extended journey, accompanied by the narrative of a thread of wood, which is subtly illuminated at various points, serving like a lamp to illuminate the context it guides the visitor through.
... about the best and worst illuminated spaces you have visited?My favourite illuminated places are inevitably those that constantly change, however subtly - whether the space behind the prism of a window raked by rainfall, the ceiling momentarily graced by the reflection off evaporating puddles, or the walls pulsing with the ambient glow from cinema. I recently went to a rural art gallery where a large central pitched roof was surrounded by low-ceilinged aisles with tiny windows and almost no fixtures. The artworks huddled in darkness, blinded by the sharp strafe of light from an occasional awkward downlight. Simple downlights can too easily create a messy nightmare - creating such awkward wall-shapes with their jagged, sparkly, scalloped accents.
... about the importance of shadows & the balance of darkness & light in your work?Light is like salt in food - you need just the right amount to season your space. Moments of subtle contrast are crucial. Darkness is the perfect partner and a prelude to light. We designed Lumiskin for the Waterfront Theatre Belfast to enable people to transform into light. The space sat dormant and utterly dark until a brave soul ventured on stage - to be immediately captured in a luminous follow-spot that mapped their every move and shrouded them in a cocoon of light. This summer we designed an interactive installation for a skylit space that is usually mostly darkened - the Roundhouse music venue in Camden. Arboreal Lightning [6] grew tendrils of light up towards the giant oculus above, bursting in response to sound above the performers and audience. Constant sound kept the ‘tree’ illuminated - whilst respite darkened it - framing phrases, like a full stop to a sentence. For any meaningful pattern to pulse through it, moments of silence and darkness were needed; a sonic and visual marriage of interweaving opposites.
COULD YOU TELL ME...
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WHISTLING THE LIGHTS
After a distinguished career in the theatre Mark Ridler overcame adversity to become lighting director at BDP. Today he works on some of the most high profile architectural projects in the UK as well as taking an active role in promoting excellence and education within his own profession. Words by Robert Leeming.
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Left Firstsite, a contemporary arts venue in Colchester designed by Rafael Vinoly. BDP worked with the architect to analyse and sculpt the building to maximise the use of natural daylight. Top right The £80 million Edinburgh International Conference Centre, designed to achieve a BREEAM rating of Excellent. Above right The Senate House at the University of London. BDP installed energy efficient lighting, power data and voice systems in the Grade II listed structure.
In comparison with many trades the lighting design profession is still in its early infancy and the number of generations that have termed it their vocation can be counted on one hand. Mark Ridler belongs firmly to the second generation, an heir to the likes of Mark Major, Jonathan Spiers and Maurice Brill. Despite charting a highly successful career in architectural lighting design, this was not the calling that first prompted Ridler to become involved with light. At school he was a rare breed, good at both arts and sciences two areas of expertise that rarely mix in practice. Having to choose between the two he opted to study engineering at Cambridge due to the influence it can have on society, however he soon missed the arts and became involved with the Cambridge Footlights. Creating lighting for the theatre he discovered could satisfy both his artistic and scientific impulses and after a season with the Footlights he found himself working full time in the London theatre.Ridler worked on plays, dance and opera, with prestigious directors like Peter Hall and at leading venues such as the English National Opera. Looking back he cannot overstate enough the effect good lighting can have on a theatrical production. “It is so fundamental to creating atmosphere,”
Ridler says, “and for focusing attention. The role of the lighting designer in the theatre is much like that of an editor in a film you are deciding if you are going to do a wide shot or a close shot and the way a scene is lit completely changes the atmosphere and can really support the meaning that the choreographer or playwright or composer is trying to convey.” Of all his work in the theatre Ridler highlights a production of The Tempest at the Nottingham Playhouse as one of his highlights. “It was just exquisite,” Ridler says. “It involved really simple sets with a black screen behind and the modulation of the lighting relative to how many people were on stage was perfectly balanced and we created this watery effect all the way through it. I’ve got tingles just thinking about it now.”Lighting does have its limitations as to what it can achieve in the theatre though. “Lighting cannot save a struggling play, no,” he says. “You’ll never come out of a theatre whistling the lights.”The jump from theatrical to architectural lighting would, you might expect, be quite a tricky leap, but this is not necessarily the case. “In some ways it is different,” Ridler says of the comparison between the two, “and in some ways it’s exactly the same.
Essentially the task of a lighting designer is revealing the human form within either a scenographic or an architectural context. This is then presented to the viewer in a way that supports the conceptual aims of those that created it. So the job in both environments is entirely the same. What is slightly different is that in the theatre the lighting changes rapidly, whereas in an architectural setting the lighting is much more static. A theatre is a black box devoid of natural daylight so the whole lighting atmosphere is entirely within the lighting designer’s control, whereas in architecture you start in a white box with lots of natural light and it is a question of what do you do when you have daylight available and what you do when you don’t.”“In terms of personnel,” Ridler continues, “there are striking similarities. The developer is the producer, the director is the lead architect, the designer is the interior designer or landscape architect and the production manager is the QS or PM, so the personalities and management structures are every similar, much more similar than I expected when I started out.”Ridler also found change to be much more viable in the theatre than in architectural lighting design. “In theatre you can change anything within the last five minutes before
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curtain-up and change is considered to be desirable, where as in architecture change is bad, plans are set in concrete sometimes literally. In theatre you explore your ideas in real time, in architecture you have to communicate your vision sometimes years in advance, there is a whole process of visual communication which doesn’t happen in the theatre and of course in architecture there is a lot more money involved. In the theatre you have a right to fail, with architecture you do not.”But despite the creative freedom offered by the theatre, one thing it does not offer is longevity, artistic expression on the stage is fleeting, it cannot be preserved, where as architecture can, in theory, outlast its creators. “It’s still fairly ephemeral,” Ridler says. “An architectural lighting scheme will last ten to twenty years, not fifty or a hundred, but still that’s longer than the three week run of a play.”Another benefit to architecture key to the development of Ridler’s career is its democratic nature. Nobody has to pay to see a lighting scheme in the public realm as they would in the theatre. “While the emotional connection to work experienced in the theatre is arguably more intense,” Ridler says, “the ability of architectural lighting to make people healthier and
happier, to work better, to learn, to enjoy their leisure time is very profound.”Despite the similarities between the two, the learning curve he experienced after making the jump from theatrical lighting to architectural was steep. The first project he worked on never got built, a hotel in Serbia, a project that was disrupted by the conflict that scarred the area during the 1990s, but, he admits, looking back, that his unrealised design was marred by inexperience.The first project that he got built was Finsbury Avenue Square at Broadgate in London, a five year commitment that spanned Ridler’s entire time working for Maurice Brill Lighting Design. “What was interesting about that project was that it started with temporary mock-ups created in order to win the support of the owner and other stakeholders,” a task, because of his theatrical experience, that he was very comfortable with. “Looking back my graphics and my conceptual communication skills were awful, they make me cringe, but we learn every day, that’s what makes things fun.”While at Maurice Brill, Ridler also worked on Sketch on Conduit Street in London, a club, Michelin starred restaurant and art gallery. He also created a temporary
installation on the Wellington Arch for the millennium, which was later converted into a permanent installation. As Ridler’s work in lighting design went from strength to strength, he suffered a life changing spinal injury in a terrible car accident that left him paralysed from the waist down. “Straight after it happened my top priority was to get back to work,” Ridler says, “I was not sure if I was going to be able to and in what capacity, but as a lighting designer you just need your brain, your hands and your mouth and that will do.”Having left Maurice Brill and after leaving hospital his thoughts immediately turned to finding a job. “I said I would give myself until Christmas of that year (2003) to get the position I really wanted and then if that didn’t happen I’d start casting my net further afield. There were three companies I really wanted to work for, one was BDP, the other was ARUP and the third one was Mind’s Eye. It just so happened that that summer Finsbury Park Square was being commissioned, so I asked Martin Lupton who was in charge at BDP to come to the opening and that led to some temporary work and later to a permanent position.”The project that Ridler names as one of his highlights from his early days at
Left The Princesshay project in Exeter focused around an arms house ruin that had become undesirable. Housing and a restaurant were developed for the site and the arms house was covered in art. It is a good example of the social element BDP considers when producing lighting designs. Right BDP played a major role in the redevelopment of Cardiff city centre, an example of the practice’s commitment to social lighting.
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Projects that you would like to change:We are working hard at the moment in changing the way in which typical office environments are delivered. That in part is through a more task based approach with intuitive local lighting control. There is a lot of inertia in this sector but the potential rewards in improved lighting environment and lower energy are enormous.
Projects you admire:Projects where people are put in the centre of the design and where artificial/daylight design is in harmony with the architecture.
Projects you dislike:Arbitrary, ostentatious design with little regard or concern for the social, envrironmental, architectural context.
Lighting Hero:Josef Svoboda. A Czech scenographer who was an early pioneer of using light to create theatrical volume. I encountered his work when in the theatre, and he still is an influence, particularly in his atmospheric, and structural use of light and space.
Notable projects:Finsbury Avenue Square (for MBLD); Princesshay, Exeter; FirstSite; St Davids, Cardiff; Edinburgh International Conference Centre; 7 More London; Trinity, Leeds; V&A Fashion Gallery.
Current projects:Manchester Cathedral; Aberdeen Music Hall; National Army Museum; Astra Zeneca New Cambridge Site; Buchanan Quarter, Glasgow; Bracknell regeneration; Mall of Egypt.
HIGHLIGHTS
BDP was Princesshay, a shopping precinct development in Exeter focused around a former arms house ruin. The project had a social element, one of Ridler’s principle inspirations. “The ruin was used by criminals,” says Ridler. “One of the earlier proposals was to blanket it with CCTV cameras and banks of floodlights, but Land Securities, the developer, came up with a much better plan and developed some housing and a restaurant for the site, while covering it in pieces of art. The opportunity to create something beautiful with client and artist, with a social benefit, ticked all the right boxes.”The massive effect that lighting can have on society is why Ridler does the job he does. “If, as a lighting designer, you can create environments where people feel happy to congregate it can add a real sense of social cohesion, safety and well being to an area. If you can make a nighttime environment a social space then the benefits are considerable. I want to make lighting that people can very intuitively, tune to their own desires, encouraging them to work productively.”Ridler analyses projects from what he calls the ‘ultimate client base’, anyone that uses, encounters or inhabits a project. He then plays back to the client the benefits of his proposals, which, because
they have been based on social impact, are never arbitrary. “If you do something simply because it will look pretty,” Ridler says, “that is much less persuasive and defendable than saying that a project is going to have an impact on the way people navigate or perceive a space and will modify their behaviour in a positive way.”A social democratic agenda does lie at the heart of BDP’s brand and this can be seen in their recent work on the Trinity shopping centre in Leeds, the largest covered shopping space in the UK. “The project has transformed what was really a quite dire part of the city centre into a really vibrant space with a cinema and a restaurant and the main reason the area works at night is the lighting and that has brought a lot of economic benefit to the area. Social benefit does not always have to be about schools and hospitals,” Ridler says, “it should have a role in every project and every project sector.”During Ridler’s career there have been great technological leaps in the lighting industry, not least the rise of LED to the prominence it retains today. “I’ve always been quite conscious to make sure that we advise our clients as to the best time to start using that kind of technology,” he notes cautiously. “But yes, they have completely changed our industry and will continue to
do so. It has changed the way we specify product for major projects too. We used to write a specification and then defend it through the tendering process, but now we write performance specifications based on kit that we know fits and will deliver the required quality affordable to the client, but in the knowledge that in three years time everything is going to be cheaper, smaller and more energy efficient, so we now recommend that we review the specification three months before purchase so we can capture any technological advance.”Ridler notes that BIM (Building Information Modeling) is also a controversial technological advance that presents a steep learning curve to the industry. “Like many new technologies it promises much,” says Ridler, “but it will probably only deliver some of that promise. It is something that we do need to engage with as an industry because it disrupts the lighting process, brief making, concept and design development. It is not inevitable that it will go wrong, but we as a profession need to be mindful of it and engage with it to make sure it does not disrupt the design process. There is a danger early on that you’ll be asked how many rivets a light fitting has, when you’re still deciding which fixtures you are going to use and what surface you
Trinity Leeds, the biggest shopping centre in the UK. The BDP lighting scheme helped to rejuvenate an overlooked section of the city centre.
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are going to illuminate. BIM’s promise though is that you will be able to calculate, render, draft all in the same environment, which is much better than working in five different software programmes.”In the wake of the huge effect that LED has had on the lighting industry, Ridler believes that the IT revolution has been some what forgotten. “When I joined Maurice Brill,” Ridler comments, “we had a fax machine, one computer that could receive emails, no mobile phones and this was only 1998, not that long ago.”The term ‘architectural lighting designer’ is almost as youthful as the technology that now defines it. “The term certainly didn’t exist when I started in theatre,” Ridler says of his current job title. “In fact all those trailblazers, LDP, DPA, Maurice Brill, the pioneers, had the job of educating clients that there was even a job to be done. That mission has now been accomplished,
something that was not the case twenty years ago.”There is still educational work to be completed though Ridler notes. “We need to teach much more about what light can do and what lighting designers need to be able to produce their best work. You just have to hope that clients are willing to listen when there is an opportunity to engage.”Lighting design education is an area that Ridler is directly engaged with as vice-president of the Institution of Lighting Professionals (ILP), which aims to promote excellence in all forms of lighting, while representing the growing lighting design community.“Lighting design is a very healthy profession right now,” says Ridler. “It didn’t shrink that much during the 2009 recession and its aftermath, but one of the greatest threats to this progress is the lack of education
about the profession and the number of courses available at universities around the world. There are more courses being taught such as the one that recently commenced at Brunel University and the LET (Lighting Education Trust) have just re-launched their diploma which is good, so it is beginning to happen in terms of lighting education, things are beginning to fall into place, but more is needed. I think one of the elements that is good about the ILP is that there is a career structure that allows designers to progress from the most junior level onwards and to demonstrate their increasing competence to the wider world.”With upcoming high profile BDP projects at the Houses of Parliament and Manchester Cathedral, it looks like Mark Ridler is set to continue on the busy and creative course he has so far charted.www.bdp.com
Top Fashion Gallery 40 in the Victoria & Albert Museum in London, BDP developed a lighting scheme especially for the exhibit using custom made elements. Above left The graceful BDP lighting scheme at Firstsite, the large windows ensure that the double height space inside is flooded with daylight. Above right BDP worked on the Avenues Mall in Kuwait the largest shopping outlet in the country.
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AND THE WINNER IS...To be associated with a RIBA Stirling Prize winner is an incredible honour for any lighting designer, and so when Everyman won this year’s award, DHA Designs was naturally thrilled.
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062 RIBA STIRLING PRIZE 2014 / EVERYMAN THEATRE, LIVERPOOL, UK
Lighting the panels was a tricky task that involved on-site mock-ups on a section of cladding. DHA Designs chose to light from the top of the façade downwards, by introducing a rail of light along the top of the façade to hide an array of EcoSense linear wall wash fixtures.
Awarded to the architects of the building that has made the greatest contribution to British architecture in the past year, the Royal Institute of British Architects (RIBA) Stirling Prize Award is considered one of the most prestigious architecture prizes in the world. Winner of this year’s Stirling Prize, Liverpool’s new Everyman theatre has seen more than 30,000 people through its doors since it opened in March and RIBA judges have described the theatre as: “An extraordinary contribution to both theatre and the city, achieved through clever team working - client, architect, consultants and contractor - where the new truly celebrates the past.”Demolished and rebuilt on the existing site, using many of the reclaimed bricks from the old building as part of internal walls in the new interior, the new Everyman was designed by London-based Haworth Tompkins Architects and includes updated incarnations of its hallmark features - a 400-seat thrust auditorium and convivial basement bistro, while 21st Century technical equipment, rehearsal room, costume workshop and sound studio enhance both productions and training opportunities. A large studio dedicated to participatory work enables the theatre to involve more young people, schools and community groups and a Writers’ Room places artists at the heart of the building. The whole building is designed to be highly environmentally sustainable, while the façade features an innovative portrait
wall comprised of 105 diverse people of Liverpool.To be associated with a Stirling Prize winner is an incredible honour for any lighting designer, and so when Everyman won the award DHA Designs was naturally thrilled. The last decade has been an incredible journey for Haworth Tompkins and an exciting time for DHA Designs, which has shared part of that ride having worked closely with the architect previously on Young Vic theatre in 2006.“We were delighted when Steve Tompkins (of Haworth Tompkins) called us back in 2011 to discuss the Everyman theatre,” said Adam Grater, Co-Founder of DHA Designs. “Initially we were sharing ideas about a treatment for the façade lighting, but the brief was developed to cover the front of house area as well.”The main west-facing façade of the building has become a large-scale public work of art consisting of three rows of moveable metal sunshade panels, each unique with a life-sized, water-cut portrait of a contemporary Liverpool resident - each can be rotated manually from inside of the office spaces to control daylight.Lighting these panels was a tricky task that involved on-site mock-ups on a section of the cladding. DHA Designs chose to light from the top of the façade downwards, by introducing a rail of light along the top of the façade to hide an array of EcoSense EcoSpec LED linear HP EXT wall wash fixtures. The downward light would
minimise sky-glow, scoring points for the building’s BREEAM performance, and also lighting down to the outdoor public balcony on the first floor. The mock-ups allowed the team to precisely measure the optimum offset of the rail, to optimise the lit effect.“We chose a product from EcoSense that had excellent optics, using a 10º by 60º and an external louvre to reduce glare,” said Peter Fordman, Designer at DHA Designs. “The product matched our performance requirements and could be achieved within the budget constraints.”The warmer colour temperature of 2,700K was decided on, bringing the panels to life at night. With so much manual adjustment of the panels, it was a challenge to achieve the best-lit effect that would equally wash across a closed panel and create interesting shadows on the panels that had been adjusted.Developed by Jake Tilson, the new Everyman signage sits on the front face of the external balcony and was designed to replace the iconic neon lettering mounted to the façade of the original building. Designed as a centrepiece for the building, it needed to be lit so that it could be read from both sides. For this, DHA approached Kemps Architectural Lighting to assist with the manufacturing and development of the custom signage. The rear of the sign is made from a perforated metal plate, allowing light to escape and also for the light source inside the sign to be partially visible. A full-scale mock up of one of the
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064 RIBA STIRLING PRIZE 2014 / EVERYMAN THEATRE, LIVERPOOL, UK
letters quickly determined the choice of light sources, and clear red cold cathode tubes used against the more modern LED tape light solutions, used for backlit signage, won the test.In addition to the external façade lighting, the team chose to make a feature of the three new chimneys that sit at roof level towards the back of the building. Clad in red-brick, the base of each chimney is washed at night with a soft red glow using miniature LED spotlights from Mike Stoane Lighting, sitting on concrete pedestals at roof level. It is a discreet effect that becomes visible at night from different viewpoints along Hope Street in Liverpool.Mike Stoane Lighting was also approached by Fordham for the interior spaces. The architect wanted to keep the interior lighting very simple, but also very quirky and unique to the project. Many of the spaces had exposed concrete ceilings, introducing quite an industrial feel to the
interior architecture. The architect was keen to introduce a family of fixtures with a variety of mountings and fixing details to add to this, with an emphasis on detail but without making things too technical.Having seen some of Mike Stoane Lighting’s custom fixtures on previous projects and with their keen eye for detail, it was an obvious choice for the Everyman theatre. Keeping things as simple as possible and within the constraints of a restricted budget, it was decided that mains voltage LED A-lamps would fit the bill, creating a soft diffuse light but still allowing simple dimming - something of a risk in 2011, when the market was already saturated by new products from unknown lamp manufacturers, promising high efficacies and smooth dimming, but not always delivering. It was something of a learning curve to sort the wheat from the chaff, but by the time the fixtures were ordered, the best performing lamp had been chosen,
using the DimTone Master LED lamp from Philips, which shifts to a warmer colour when dimmed. The family of interior fixtures are based loosely around a simple lamp holder and copper coloured metal disc, either as a surface mounted option, or pendant fixture with braided cables. The exception to this is downstairs in the basement, where things get a lot more fun. Haworth Tompkins was challenged with designing a new bistro that matched the charm and popularity of the original. The old bistro was very much a popular local haunt and it was important not to lose its personality with the new design. “Steve Tompkins came up with the original idea to introduce a raising and lowering mechanism for the fixtures in the new bistro, and it was our job to find a way to make this work,” said Fordham. Mike Stoane Lighting was able to advise on the best choice of materials for the fixtures that could meet the budget and the architect’s
2014年王立英国建築家協会（RIBA)賞スターリングプライズに輝いたリバプールのエブリマンシアター は、3月の開館以来、すでに3万人の来場者を記録。古い建物を取り壊し、再建された新エブリマンシアターを設計したのは ロンドンの Haworth Tompkins Architects、照明デザインを手がけたのはDHA Designs。建物全体の設計において環境への深い配慮がなされる一方、ファサードはリバプールに住む105人の市民の肖像画を用いた斬新なものとなった。当初はファサードの照明表現について様々な意見があっていたが、肖像画で劇場の正面を覆うというアイディアに収れんした。建物西側のファサードを飾る3列に並べられた金属製の可動式遮光パネルは、一枚一枚が現代のリバプール市民の防水等身大肖像画であり、ファサ
ード全体がスケールの大きなパブリックアートを形成している。照明内部は単純な作りだが弓形になっており、このプロジェクト独特の形状である。建築家は細部にこだわった様々な台や細かな装飾を施したしつらいを使用するよう務めたが、技術的に複雑な作品にはしていない。
利物浦新普通人剧院作为 2014 年英国皇家建筑师学会 (RIBA) 斯特灵奖的获奖者，自三月份开业后，已迎接了超过 30,000 名观众的到来。从原址上拆除重建的新普通人剧院由 伦敦 Haworth Tomp-kins 建筑师事务所担纲设计，照明设计方案则来自 DHA 设计。整座建筑的设计以高度的环境可持续性为宗旨，正面采用创新的肖像墙设计，其中包含 105 名不同的利物浦人形象。最初的创意是对正面照明进行处理，但最后也对建筑前部区域的覆
盖作了简洁的处理。建筑的主西向面变成了一个大型公共艺术品，包含三排可移动的金属天棚面板，每一排的独特之处在于都绘有原物大小且用水切削的当代利物浦人肖像。建筑内部的照明保持了简约的风格，但为项目营造了一种离奇而独特的气息。建筑师热衷于引入各种带有多样配件和固有细节的固定装置，着力突出细节，但又避免太过追求技术性。。
Vainqueur 2014 du « RIBA Stirling Prize » (Prix de l’Institut royal des architectes britanniques), le nou-veau théâtre Everyman de Liverpool a déjà accueilli plus de 30 000 personnes depuis son ouverture en mars dernier. Démoli et reconstruit sur le site actuel, le nouveau Everyman a été imaginé par le cabinet Haworth Tompkins Architects de Londres, et la conception de l’éclairage par l’entreprise DHA
Designs. L’ensemble du bâtiment se veut très re-spectueux de l’environnement, tandis que la façade présente un mur plutôt innovant composé de 105 portraits différents d’habitants de Liverpool. Au début, des idées concernant l’éclairage de la façade furent émises, mais le cahier des charges évolua et toute la superficie de la façade dut être recou-verte. La façade principale du bâtiment orientée à l’Ouest est alors devenue une œuvre d’art publique à grande échelle composée de trois rangées de pan-neaux pare-soleil mobiles en métal, chacun indivi-duellement conçu et découpé présentant un portrait grandeur nature d’un résident contemporain de Liv-erpool. À l’intérieur, l’éclairage reste simple, mais original et unique au projet. L’architecte a tenu à inclure une série de luminaires offrant une grande variété de supports et de fixations détaillés, appuy-ant une minutie harmonieuse, mais sans rendre le tout trop technique.
JAPANESE
CHINESEFRANÇAIS
The architect wanted to keep the interior lighting very simple, but also very quirky and unique to the project. Exposed concrete ceilings introduce an industrial feel to the venue, the lighting chosen adds to this effect without becoming too technical.
Everyman Theatre, Liverpool, UKArchitect: Haworth Tompkins ArchitectsLighting Design: DHA Designs
PROJECT DETAILS
LIGHTING SPECIFIED
EcoSense EcoSpec Linear HP EXT WW fixtureKemps Neon custom exterior signage Mike Stoane Lighting custom pendants, raise & lower pendants, and surface mounted fixturesMuuto Cosy LampsNJO LEDs PDS Series in-floor walkover, linear feature lightsOsram LINEARlight FLEX Protect Eco LED modules
AuditoriumGDS ArcSystem, BlueSystem & Stage Managers Desk (not DHA spec)
expectations. Each fixture is suspended on a braided electrical cable via a simple pulley system across the ceiling, to a set of copper counter weights that hang close to the light wells on one side of the space. The height of the fixtures can be manually adjusted to create an extra level of intimacy, with a system of limiters to make sure that the system remains safe. DHA Designs added a concealed strip of warm white linear LED along the edge of each of the light wells so that they appear to glow at night. DHA Designs was also asked to consider re-using some of the theatre’s old lighting stock in the front of house spaces - as a lighting feature but with some functionality. “The architect was very keen on the look of these fixtures, but well aware that they needed to be brought up to date regarding lamp technology to make them a viable addition to a permanent lighting scheme,” said Fordham.Testament to what the RIBA Award means to the Everyman, commenting - through the
theatre’s website - on Haworth Tompkins involvement in the rebuild, Artistic Director Gemma Bodinetz and Executive Director Deborah Aydon are quoted: “We’re thrilled to have won this most prestigious of awards. The Everyman was built with humanity at its heart, an intent embodied by the 105 people of Liverpool on its façade. Haworth Tompkins has delivered us a building that is sustainable, technically first rate and with unparalleled levels of accessibility for a theatre. On a small site with many competing needs and technical necessities they overcame every challenge with zeal and imagination to create something that is as beautiful as it is functional.“But most of all they have transformed a building that lacked so much, into a building that embodies what the Everyman’s ethos has always been: world-class theatre in our auditorium, nurturing new writing, great food in convivial spaces, and somewhere for young people to dream
of a future where nothing is impossible. Ten years ago when we embarked on this journey with Haworth Tompkins we could never have imagined it would end in winning the RIBA Stirling Prize: they have designed a building that supplies joy beyond expectation to every visitor and those of us lucky enough to work here.”www.dhadesigns.com
Das neue Everyman Theater in Liverpool, das 2014 den Stirling Preis des Royal Institute of British Archi-tects (RIBA) gewonnen hat, hat seit seiner Eröffnung im März mehr als 30.000 Besucher verzeichnet. Das Everyman wurde zunächst demoliert und anschließend auf dem bestehenden Standort wieder aufgebaut. En-tworfen wurde es durch Haworth Tompkins Architects aus London. Das Beleuchtungsdesign stammt von DHA Designs. Das gesamte Gebäude wurde ökologisch nachhaltig entworfen, während die Fassade eine inno-vative Porträtwand mit 105 verschiedenen Leuten aus Liverpool aufweist. Ursprünglich gab es Ideen in Bezug auf die Behandlung der Fassadenbeleuchtung, doch letztendlich wurde der Auftrag dahingehend erweitert, dass die Vorderseite des Häuserbereichs ebenfalls abgedeckt wurde. Die Hauptfassade des Gebäudes mit Westorientierung erhielt ein aufwendiges öffentliches
Kunstwerk, das aus drei Reihen beweglicher Sonnen-schutzlamellen aus Metall besteht, von denen jede ein Unikat ist mit dem lebensgroßen verwässerten Porträt eines zeitgenössischen Einwohners von Liverpool. Im Inneren wurde die Beleuchtung einfach gehalten, dabei dennoch spitzfindig und projektspezifisch. Der Architekt wollte unbedingt darüber hinaus eine Leuchtenfamilie mit einer Vielzahl von Armaturen und Befestigungsde-tails einsetzen, mit Detailbetonung aber ohne zu viel Technik.
Vincitore del Royal Institute of British Architects Award (RIBA) Stirling Prize 2014, il nuovo teatro Everyman di Liv-erpool ha visto varcare le sue porte più di 30.000 persone da quando ha aperto a marzo. Demolito e ricostruito sul sito esistente, il nuovo Everyman è stato progettato dai londinesi Haworth Tompkins Architects, con un progetto luci proveniente da Designs DHA. L’intero edificio è stato progettato per essere altamente eco-sostenibile, mentre
la facciata è dotata di un innovativo muro dipinto com-posto da 105 persone diverse di Liverpool. Inizialmente c’erano diverse idee sull’utilizzo dell’illuminazione della facciata, che è stato sviluppato per coprire anche la par-te anteriore dell’edificio. La parte ovest principale della facciata dell’edificio è diventata una grande opera d’arte pubblica costituita da tre file di pannelli parasole metal-lici e mobili, ognuno unico nel suo genere con un ritratto a grandezza naturale di un residente Liverpool contem-poraneo. All’interno l’illuminazione è stata mantenuta semplice ma comunque eccentrica e unica per il progetto. L’architetto ha voluto introdurre una serie di apparecchi con una varietà di supporti e dettagli fissi da aggiungere a questo, con particolare attenzione ai dettagli, ma senza fare le cose in modo troppo tecnico.
Ganador del Premio Stirling Prize 2014, del Instituto Real de Arquitectos Británicos (De sus siglas en Inglés, RIBA), el nuevo teatro Everyman de Liverpool ha recibido
a más de 30.000 personas por su puerta desde que abrió en Marzo. Demolido y re-construido en el sitio actual, el nuevo Everyman fue diseñado por los Arquitectos Haworth Tompkins, con base en Londres, y con diseño de ilumi-nación proveniente de los Diseñadores DHA. El edificio entero fue diseñado para ser altamente sustentable con el entorno, a la vez que la fachada presenta una innovadora pared con retratos de 105 personas diversas de Liverpool. Inicialmente, hubo ideas sobre un tratamiento para la iluminación de la fachada, pero la consigna se desarrolló para cubrir el frente también. La fachada principal del edificio, con orientación oeste, se ha convertido en una obra de arte pública a gran escala compuesta de tres filas de paneles parasoles móviles de metal, cada uno de ellos único, con un retrato de tamaño real de un residente contemporáneo de Liverpool. En el interior, la iluminación se ha mantenido simple, incluso estrafalaria y única para el proyecto. El arquitecto tuvo muchas ganas de introducir una familia de artefactos con una variedad de monturas y detalles de ajuste con un énfasis en el detalle pero sin hacer que las cosas resulten demasiado técnicas.
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The personality of the old bistro remains at Everyman Theatre, while a new pulley lighting system brings an added level of intimacy and charm to the space. A GDS ArcSystem was used for house lights and emergency lighting throughout, while 170 ArcSystem fixtures were installed in the auditorium. GDS BlueSystem was used in all working areas with 100 Blue Beam and Blue Dome fixtures put in place, along with a bespoke GDS Stage Managers Desk.
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066 RIBA STIRLING PRIZE 2014 / EVERYMAN THEATRE, LIVERPOOL, UK
At the beginning of its life, the Young Vic theatre was intended to last just five years. Thirty years later and the theatre had developed a reputation as a producing house for new directors, but the building on the other hand was beginning to fall apart. From 2004 to 2006 the theatre was almost entirely rebuilt on its original site and DHA Designs designed an exterior lighting treatment on the façade, while assisting Steve Tompkins and his team with the public interior spaces.Artist Clem Crosby designed the unique façade treatment for the new auditorium, introducing hand-painted cement board panels offset by silver mesh panels held away from the painted surfaces. After on-site mock-ups with the architect and a team of in-house technicians from the theatre,
LIGHTING SPECIFIED
Young Vic TheatreSill Lighting Stripe Projector 030 EncapSulite MT70-LED Exterior waterproof lighting
Chichester Festival TheatreiGuzzini Linealuce recessed 28W T5 fixturesMeyer Nightvision Mini Asymmetric 8701 061 009 flourescentsMike Staone Lighting Track Type X, Spot & Wallwasher with Xicato LEDSPrecision Lighting PICO3 Spotlights and EVO X16 LV Spots on ReTrac SystemProlicht H30 Profile up / down wall mounts
Pic: Philip Vile
DHA DESIGNS DELIVERS
DHA Designs came up with a solution for up-lighting the void space between the mesh and the cement board panels using metal halide projectors. “We chose a projector from Sill Lighting that had the perfect optic for our application, grazing up the wall with a fan of warm white light,” explained Peter Fordham.Working on a limited budget, DHA Designs’ simple solution was a shortlisted project in 2007’s Lighting Design Awards, and for Haworth Tompkins, the project went on to collect numerous architectural awards.Following the success of the Young Vic and then Everyman, DHA Designs has continued to work with Haworth Tompkins on other projects and in January 2012, the architect and lighting designer joined forces on the refurbishment of the Chichester Festival
The Young Vic shining brightly
As mentioned, prior to working on Everyman Theatre, DHA Designs and Haworth Tompkins were already well acquainted having worked on Young Vic theatre in London, as part of a major rebuild. Since Everyman, the dream team has joined forces once more to bring Chichester Festival Theatre back to life.
Theatre.The scope included an exterior lighting treatment to enhance the theatre’s dramatic, cantilever concrete structure above the main entrance, and an interior lighting treatment to the ground floor foyer and public spaces that wrap around the central auditorium. As with Everyman, on-site mock-ups were crucial to the project’s success and with a hands-on approach from both the architect and the client it was easy to convince both teams of the benefits of good lighting. Exterior fixtures from Willy Meyer were used to uplight the external concrete facades, and Lightworks was brought on board to provide a custom wall mounted profile from Prolicht for the main foyer.www.dhadesigns.com
068 RIBA STIRLING PRIZE 2014 / SAW SWEE HOCK STUDENT CENTRE, LSE, LONDON
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Saw Swee Hock Student Centre is a special building. It absorbs the awkward and restricted site boundaries to provide internal spaces with a multiple of uses. The building excites, the spaces are as much of art as of use, the complex geometry, the use of colour and natural materials sit within a fair-faced concrete interior, and an intricate lattice of externally clad red brickwork. As much craftsmanship as architecture, the sheer persistence of its architectural vison resounds throughout the building.The triangulated external façades of the building, extends through to the internal spaces, with each having a unique geometry and form.Saw Swee Hock is a multifunctional building with a large music venue, pub, learning cafe, union offices, prayer centre, dance studio, careers library and gym. The project is located at the knuckle-point convergence of the network of narrow streets that characterise the London School of Economics (LSE) city centre campus. Architects O’Donnell + Tuomey created a public space at the threshold of the Student Union on axis with St Clement’s Lane, pulling pedestrian street life into and up the building. The architectural intention for the design of the building was to create an active Student Union, the contemporary character of which was inviting, welcoming and even provoking to its users. Inside the building open stairways spiral around the central lift shaft that forms a skewering pivotpoint at the centre of gravity of the plan. These wide stairs with slow steps make a flowing continuous ribbon of movement from street to roof garden, a vertical building working as a single organism. The use of daylight, natural ventilation
and many other details led to the design being given a BREEAM Outstanding rating. When shortlisted for the RIBA Stirling Prize the judges were gushing in their praise of how natural light was designed to flow throughout the venue giving it a light and airy feel, something of an achievement for such a complex building: “The architects started by taking the geometry of tight angles as the definition of a solid into which they gouged cuts and cracks that give light and form.” The lighting design for the striking building was carried out by ChapmanBDSP. The final implementation of which was carried out by the contractors, Osborne. The building seeks to be the best student centre in the UK, enhancing the student social experience and acting as a student hub at the centre of the LSE London campus.“The lighting design for the project was challenging,” admits Farhad Rahim, Associate Lighting Designer at ChapmanBDSP. “Structural restrictions limited where luminaires could be located so each fitting had to be carefully co-ordinated with the structural make up of the ceiling slab joints and infrastructure, and raised floor support to provide supply and control lines, limiting the location of luminaires.” A multitude of lighting arrangements had to be carried out as each location was also required to be considered within the overall architecture of each space. Luminaires providing function were also required to be part of the architecture, as visible components within the internal space. “The shape, colour and location of each luminaire all play a part to maintain the integrity of the architecture,” comments Rahim. “The perseverance was worthwhile, I am so proud and privileged to have been
THE ECONOMICS OF LIGHTINGOfficially opened on 24th October, the BREEAM Outstanding rated Saw Swee Hock Student Centre at the London School of Economics is a triumph in mobilising the limitations of a site into a startlingly original building which makes a massive contribution to its townscape. The lighting design, by ChapmanBDSP in conjunction with architects O’Donnell + Tuomey, was no less of a challenge.
The Saw Swee Hock Student Centre, within the LSE London campus, is located amidst medieval London streets and period properties. It stands out with its unique architecture, yet melds with its surroundings. The illumination of the external façade is avoided, minimising light pollution and allowing the internal illumination of the building to act as a lantern with an intricate lattice of brickwork on the external façade.
070 RIBA STIRLING PRIZE 2014 / SAW SWEE HOCK STUDENT CENTRE, LSE, LONDON
part of the team, the building is truly inspirational.”The lighting design was carried out in very close collaboration with the architects embracing the unique architecture and following form and function, integrating within the architectural fabric of the building.The majority of the internal finishes are of fair-faced concrete from walls to ceilings. Vertical surfaces of colour provide contrast and define the interior. The colours used are a unique palette, a classic trait of O’Donnell + Tuomey. The building encourages students to congregate, engage and be involved. The visibility of containment routes and wiring to luminaires are avoided with the use of the void space on the floors above to serve the luminaires located below. Conduits are recessed within the building
fabric to serve wall mounted luminaires, the supporting vertical columns are utilised to mount luminaires with containment integrated within the columns allowing the intricate architecture, contours and purity of its geometrical form to take precedent.The design ensures that all control gear is integrated within the luminaires to be accessible from the floor served to ensure ease of maintenance without needing to access the floor above, thus minimising disruption.The illumination of the external façade is avoided, minimising light pollution and allowing the internal illumination of the building to act as a lantern with intricate lattice of brickwork on the external façade. The use of the internal spaces by its occupants allows the façade to become a living and active lighting form, providing
a visual language of the building’s usage during the hours of darkness.The main ground floor entrance leads to the reception and main circulation staircase, providing vertical access though to other floors in the building. The lighting of the staircase incorporates linear luminaires recessed within a trough to provide general illumination as well as to complement the geometrical structure and form. The main staircase and central lift core play a pivotal role in the fluidity and access between floors, with each area adjacent to the lift core designed to allow students to informally congregate, further empathising the building’s purpose to accommodate the requirement of its end users.Adjacent to the main lift lobby on the ground floor is a spiral staircase providing access to the lower floors that holds the
Top The lower basement level houses a world class events space, which is utilised for performances, musical events and practice. The base lighting scheme provides general illumination of the space via industrial type pendants with lighting rigs and professional level controls to entertain all the various requirements demanded from the space. Left The lighting of the staircase had always been intended to integrate within the structure. Recessed linear luminaires are housed in a precast trough to complement the geometrical structure and to be part of its form. Above The majority of circulation spaces and general areas of use are illuminated via semi-recessed canister type downlights, maintaining a simple aesthetic to supplement the architecture.
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072 RIBA STIRLING PRIZE 2014 / SAW SWEE HOCK STUDENT CENTRE, LSE, LONDON
main event space and nightclub. Lighting is integrated within the slim handrail design, again complementing the architectural form and shape. The handrail lighting also functions as emergency lighting during power outage or failure.The first floor includes the student café, for which the general illumination of the space is provided via bespoke lighting columns with branches to depict the form of trees, utilising uplighting to provide indirect lighting for a comfortable and shadow free illumination of the space below. The upward light is reflected via large oval shaped clouds above to act as both a
reflecting surface and acoustics damping. Both columns and luminaires are painted to complement the colour scheme, which contrasts with the fair-faced concrete finishes to add visual interest.The first floor also accommodates the student activity centre, which also applies a similar lighting strategy to the café with the use of indirect light distribution with tree like column structures with floating clouds.The illumination of the media centre on the second floor consists of semi-recessed canister type downlights, which are supplemented with column mounted uplights, bringing a lightness and expanding
the volume of the space. The Multi-faith rooms on the same floor are illuminated via indirect light distribution with low levels of illumination to provide a sense of serenity and calm.The third floor accommodates the Student Residences office and Student Union office, both of which are illuminated in a similar fashion to the media centre, continuing a consistency of visual language and lighting philosophy, utilising semi-recessed canister downlights to provide task oriented illumination levels, which are supplemented with uplighting via spotlights mounted onto the vertical support columns.
The student bar and café features Bega uplights to provide indirect light distribution producing a space that is visually comfortable, with a sense of ambience. The triangulated design of which complements the support structure to depict the form of trees.
アイルランドの建築家O’Donnell & Tuomeyによるこの人目を引く建物の照明デザインはChapmanBDSPによって製作され、建築業者Geoffery Osborneがそのデザインを最終的に施工した。この建物は学生の社会活動を円滑にし、学生生活の中心となることを意図してイギリス随一の学生センターとなるげくLSEのロンドンキャンパスの中心に作られた。照明デザインは建築家との密接な共同作業により、建物の特徴やその形状と機能のコンセプトに沿い、建築に織り込まれた構造と融合するように作り出されている。内部は壁から天井までほとんどの部分が打ち放しコンクリート仕上げ。内部照明が間のブロ
ック壁と共にランタンのように見えるよう、建物外壁ファサードの照明は、あえて設置しなかった。内部スペースを利用すると、ファサードが生き生きと燃え盛る燈火のように見え、周囲が暗い時間帯には、建物の使用法を視覚的に説明する。
这座显眼的建筑由爱尔兰设计师事务所 O’Donnell & Tuomey 担纲建造，其灯光设计由 ChapmanBDSP 完成，最终设计由承包商 Geoffery Osborne 实施。该建筑设计的目标是打造全英国最好的学生中心，加强学生的社会经验，并成为 LSE 伦敦区中心的学生枢纽。灯光设计由建筑师们紧密合作完成，采用
了独特的结构，并遵循了全新的形式和功能理念，极大地协调整合了建筑的整体结构。墙面到天花板的内部装修大部分采用清水面混凝土完成。外立面未采用照明装置，以让建筑内部照明营造一种州际砌砖结构的灯笼效果。内部空间的使用为外立面营造了一种鲜活生动的照明形式，为黑暗环境下使用该建筑提供了一种独特的视觉语言。
L’éclairage de l’exceptionnel bâtiment de l’architecte irlandais O’Donnell & Tuomey fut imaginé par l’entre-prise Chapman BDSP, puis la mise en œuvre finale de la conception fut réalisée par l’entrepreneur Geoffery
Osborne. Le bâtiment aspire à devenir le meilleur centre pour étudiants au Royaume-Uni, en améliorant l’expéri-ence sociale étudiante et en servant de plaque tournante estudiantine au cœur du campus LSE de Londres.La conception de l’éclairage fut menée en étroite col-laboration avec les architectes afin de contenir cette architecture unique et suivre un concept de forme et de fonction intégrant complètement le matériau de l’archi-tecte du bâtiment.La plupart des finitions intérieures sont en béton de parement, et ceci du sol au plafond. La façade ex-térieure est peu illuminée afin que l’éclairage intérieur du bâtiment opère comme une lanterne allumée avec sa maçonnerie ajourée. L’utilisation de l’espace intérieur permet à la façade de prendre une forme lumineuse vi-vante et active, offrant un langage visuel de la fonction du bâtiment pendant les heures d’obscurité.
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074 RIBA STIRLING PRIZE 2014 / SAW SWEE HOCK STUDENT CENTRE, LSE, LONDON
Saw Swee Hock Student Centre, LSE, LondonClient: London School of EconomicsArchitect: O’Donnell + Tuomey Lighting Design: ChapmanBDSPContractor (lighting spec implementation): Osborne
PROJECT DETAILS
LIGHTING SPECIFIED
Newlec T5 IP65 battenRiegens Certus battenRiegens D1-D15 downlightWhitecroft Mirage recessed downlightacdc recessed downlightCooper Safety SL CG-S luminaireSpecials Lighting Design recessed 600 x 600 panelSpecials Lighting Design pendantTargetti Exterieur Mercure Light-LineThorn Arrowslim T5 battenThorn Concavia S high bayCommercial Lighting Sovereign flexible LED stripCommercial Lighting Sovereign Tubular spotlightInnermost Circus pendantIlluma TracklightBEGA 8409 wall mounted floodlight
The fifth floor accommodates the Student Careers Centre. Due the reduction of support columns, the uplighting components are addressed via horizontally mounted lighting poles onto which are mounted direction spotlights, providing both upward light and task orientated illumination.The central staircase terminates on the fifth floor and access to the sixth floor is provided via a circular staircase similar to that leading to the Student Coffee /Juice bar. The lighting changes here with the use of Innermost Circus pendants to provide a decorative element.The lighting control for the building utilises a central system, adopting a Dali protocol to enable future changes in the configuration of the lighting control and removing the requirement for alterations to the wiring infrastructure, minimising alterations to the building fabric or extensive manual labour to carry out future
modifications.The lighting operates on an automated detection system, with central override to allow main circulation spaces and other key areas to be constantly illuminated when required during core hours and revert to automated operation for outside core hours, allowing for a flexible control system.The key elements for the lighting are to supplement the architecture and more importantly to provide illumination of spaces that are central to the user’s requirements and comfort. The greatest satisfaction is that users love the space that has been provided for them and have embraced the building that has been designed to the students’ and users’ requirements.www.chapmanbdsp.comwww.odonnell-tuomey.iewww.osborne.co.uk
Lighting is integrated within the slim circular handrail design of the spiral staircase complementing the architectural form and shape. The handrail lighting also functions as emergency lighting during power outage or failure.
Das Beleuchtungsdesign für das auffällige Gebäude des irischen Architekten O’Donnell & Tuomey wurde von ChapmanBDSP realisiert, wobei die endgültige Implementierung des realisierten Designs von den Un-ternehmern Geoffery Osborne stammt. Das Gebäude erhebt den Anspruch, das beste Studentenzentrum in GB zu sein, um die soziale Erfahrung der Studenten zu verbessern und als Studenten-Drehscheibe im Zentrum des Campus der LSE in London zu fungieren.Das Beleuchtungsdesign wurde in sehr enger Zusam-menarbeit mit den Architekten durchgeführt, um die einzigartige Architektur einzubeziehen und befolgt ein Form- und Funktionskonzept mit starker Integration des Architekturgewebes des Gebäudes.Der Großteil der internen Endverarbeitungen ist aus Sichtbeton für Wände und Decken. Die Beleuchtung der
Außenfassade wurde vermieden, damit die Innenbe-leuchtung des Gebäudes als Laterne für das Mauerwerk fungieren kann. Dank der Verwendung des Innenbere-ichs kann die Fassade eine lebendige und aktive Be-leuchtungsform annehmen, die während der Dunkelheit eine visuelle Sprache in Bezug auf die Verwendung des Gebäudes liefert.
Il progetto di illuminazione per il suggestivo edificio, fatto dall’architetto irlandese O’Donnell & Tuomey, era stato portato avanti da ChapmanBDSP e, in seguito, la realizzazione finale del progetto è proseguita grazie al lavoro dei contattori Geoffery Osborne. L’edificio si pro-pone di essere il miglior centro studenti del Regno Unito, costruito per migliorare la vita sociale degli studenti e agire come un portale studentesco al centro del campus LSE di Londra.
Il progetto di illuminazione era stato effettuato in stretta coordinazione con gli architetti per abbracciare l’ar-chitettura unica nel suo genere e seguire un concetto che unisse la forma alla funzionalità, integrandosi mag-giormente con la struttura architetturale dell’edificio.La maggior parte delle finiture interne, dalle pareti ai soffitti, sono di calcestruzzo. La facciata esterna non è illuminata per consentire all’illuminazione interna dell’edificio di agire come una lanterna con la muratura esterna. L’uso dello spazio interno permette alla facciata di avere una forma di illuminazione vitale e attiva ed un linguaggio visivo nell’utilizzo dell’edificio nelle ore notturne.
El diseño de iluminación para el llamativo edificio de los arquitectos Irlandeses, O’Donnell & Tuomey, fue llevado a cabo por ChapmanBDSP. La implementación final
del diseño estuvo a cargo de los contratistas Geoffery Osborne. El edificio busca ser el mejor centro de es-tudiantes del Reino Unido, para resaltar la experiencia social del estudiante y actuar como núcleo en el centro del campus de la LSE de Londres.El diseño de iluminación fue llevado a cabo con una co-ordinación muy cercana con los arquitectos, para acoger la arquitectura única. El mismo sigue un concepto de forma y función con mucha integración dentro de la estructura arquitectónica del edificio.La mayor parte de las terminaciones del interior son de concreto aparente desde las paredes hasta los cielorra-sos. Se evitó la iluminación de la fachada exterior para permitir que la iluminación del interior del edificio ac-tuara como una linterna con el enladrillado. El uso de un espacio interior le permite a la fachada convertirse en una forma de iluminación viva y activa, proveyendo un lenguaje visual del uso del edificio durante las horas de oscuridad.
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076 RIBA STIRLING PRIZE 2014 / THE MANCHESTER SCHOOL OF ART, MANCHESTER, UK
ARTS AND CRAFTSThe Manchester School of Art is the second oldest art school in the country and with an alumni list that features the likes of L.S. Lowry and Thomas Heatherwick, its influence on the city’s culture is incalculable. United in one building on the Manchester Metropolitan University campus for the first time, the new structure is both functional and inspiring. With a building design by Feilden Clegg Bradley studios and an imaginative lighting design from Arup, the School’s new home was rightly shortlisted for the RIBA Stirling Prize.
Pics: Giles Rocholl (except when noted)
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The Manchester School of Art celebrated its 175th anniversary last year and the institu-tion boasts a history that has spanned from the Industrial Revolution to the Information Age. The faculty’s new home on Cavendish Street deep within Manchester’s university quarter is very much an article of today, but one that pays its respects to the School’s lasting legacy.The structure, with its striking glass exte-rior, has been seamlessly attached to the faculty’s former home, Chatham Tower, a 1960’s block now completely reinvig-orated with a new façade. Architectural firm Feilden Clegg Bradley Studios led the project, while a team from Arup’s Manches-ter office created the lighting design. After completion in 2013 the building was short-listed in this year’s prestigious RIBA Stirling Prize, where the judges described the building as a hot house of creativity with a level of interaction between students of different disciplines never before achieved. This building will change the way in which art education is taught forever.A functional structure was required, a building that could be used and worked in readily, while firing the imaginations of those that used it. The client’s vision was to unite the Art and Design Faculty into one building that could easily transcend different artistic cultures, everything from photography to media, to fine arts, messy ceramics, architectural studies and the subject for which the school is perhaps most famous and the reason for its founding, textiles. The building actively reflects the school and the city’s attachment to textiles and a textile print developed at the School in the early years of the last century and sold around the world can be found cast in the columns of the building.The public access glass vertical gallery at the front of the structure links the studio space with Chatham Tower and has been termed the ‘Window on the Arts’ by the designers. The space was developed with a mind to showing off the work completed by the students, creating a ‘shop front’ style area that is constantly renewed with changing talent.A base for student operations can be found in the Design Shed at the back of the build-ing. It is open plan both vertically and hori-zontally and this area boasts seminar rooms and seating areas where students can come together to swap ideas. This area is home to many denominations of skill and the build-ing adapts to them all beautifully. Students can be seen on sewing machines sitting next to people on Apple Macs. This is further
The streamlined interior of the Manchester School of Art, with straight and crisp lines throughout.
078 RIBA STIRLING PRIZE 2014 / THE MANCHESTER SCHOOL OF ART, MANCHESTER, UK
enhanced by the ‘village green’ spaces that have been installed reflecting the character of the students who use each floor.When it came to developing a lighting scheme for the building the challenges were considerable, particularly in the vertical gallery space and in the Design Shed, where differing ceiling heights made luminaire in-stallation difficult. The lighting design also had to successfully balance the aesthetic and inspirational demands of the structure with the need for realistic operational requirements.The client originally requested that LED technology be installed in all aspects of the project due to its energy saving capability and Arup responded by doing a lot of work investigating the potential LED options. LEDs were used wherever appropriate, but other lamp types such as linear fluorescent and metal halide were selected in some instances. As the entire building, even Chatham Tower, is transformed into a gallery during the end of year shows that act as the conclusion to the university term, track lighting has been
installed for display purposes throughout the building. It was also necessary for the designers to light the building in anticipa-tion of the differing artworks that would be created and displayed, from an intri-cate piece of jewellery to a large canvas hanging the length of the vertical gallery and everything in-between. This had to be achieved in a range of challenging spaces in terms of geometry.It was found, when considering the best fixtures to use in the vertical gallery, that LED spotlights were not able to provide the range of beam angles and lumen output re-quired to showcase the wide range of exhib-its envisaged within the building. Spotlights from Projection Lighting, using Xicato Artist LED spotlights installed within the Design Shed, were used principally because of their excellent colour rendering ability, but also their ease of use allowing students to adapt the lighting to their needs.The interior of the building is extremely streamlined, the lines are straight and crisp and the differing floors and walkways glide through the open spaces as if in motion. It
Top left Zumtobel LED slotlights were used to create lines of light that flit across the building. Top right The exterior of the Manchester School of Arts, the ‘Window on the Arts’, can be seen in the lower portion of the structure. Below left A great amount of care had to be taken when lighting the Design Shed due to the different styles of artistic practice that would be carried out in the space. Above right DW Windsor Garda LED handrails have been installed on the staircases.
was originally intended that bespoke pen-dants would be installed in the Design Shed but it was ultimately decided by the archi-tect that the focus of the building should be placed on the work going on inside it rather than on sculptural fixtures. Instead of pendants, Zumtobel LED slotlights were used and framed creating lines of light that flit across the building. The slotlights act to create a clean space with minimum distrac-tion from the artwork being displayed.The differing heights of the ceiling also posed its own problems in creating a good uniformity across the structure while maintaining the total functionality of the building. The stairs and bridges that run through the triple height spaces posed particular difficulties for the lighting de-signers because of the depth of the space. The strength of light required to light them would prompt the light to be too bright and hot at the top of the stairs if lit from the ceiling, so instead LED handrails from DW Windsor have been installed.The decks of the Vertical Gallery have a wide range of ceiling heights, which
Pic: Hufton+Crow
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080 RIBA STIRLING PRIZE 2014 / THE MANCHESTER SCHOOL OF ART, MANCHESTER, UK
新しい美術学校の人目を引くガラス張りの外観が、旧校舎Chatham Towerに巧みにつなげられている。学生が拠点としている「デザイン小屋（design shed)」では様 な々タイプの照明が求められた。利用者の利便性を考慮してXacato LEDのスポットライトが設置され、学生は自分の好みで照明を調節できるようになった。メタルハライドランプのついたErcoの円筒型照明が「緑の村（village green)」スペース内部に設置され、天井高が2倍のスペースを照らす。Zumtobel LEDのスポットライトは各フロアの間の空間を効果的に縁どり、光の線を配することで内装を一貫性のある美しいものにしている。白い箱型照明が5階ギャラリーに特別に設置された。箱の形状は非常にシンプルだが、側面に手入れしやすいよう
点検用パネルが取り付けられ、送電線が 目立たないようにうまくデザインされている。箱内部にはT5 battenタイプのの照明器具が収められており、照明器具と半透明な防虫フィルムの間に400mの間隔をとることで、光が均等に広がる。
新的艺术学院采用了引人注目的玻璃外立面，与学院的旧建筑——查塔姆塔——完美结合。照明面最广的地方就是学生所在的“设计棚”。考虑到易用性，此处安装了 Xacato LED 灯，让学生可以根据其需求对灯光进行调整。“村庄广场”区域内安装了采用 70W 金属卤化物灯的 Erco 照明装置，以照亮整个双层高区域。Zumto-bel LED 灯也被有效地运用来构造每层之间的空隙区域，营造一种光线效果，并突
出内部完美统一的特性。四楼的走廊还特意使用了白灯箱。这些灯箱本身很简单，但设计师对设计对象以及不引人注意的灯箱均进行了令人印象深刻的处理，而侧面检修门板的安装则以易于维修为宗旨。灯箱包含 T5 条形灯具，灯具和透明层之间有一个 400m 空间，营造出一种统一的光分布效果。
L’étonnante structure en verre de la nouvelle École des Arts fut savamment rattachée à l’ancienne résidence de la faculté, la tour Chatham. Une pan-oplie importante d’éclairages fut nécessaire dans le « hangar à conception » où les étudiants travaillent. Des projecteurs Xacato LED ont été installés en raison de leur facilité d’utilisation, permettant aux étudiants d’adapter l’éclairage à leurs besoins. Des cylindres
de luminaires Erco munis de lampes aux halogénures métalliques de 70 W ont été installés dans les « es-paces verts du village » afin d’éclairer ces très hauts espaces. Des projecteurs Zumtobel LED ont égale-ment été efficacement utilisés afin de compenser les vides entre chaque étage, créant ainsi des lignes de lumière qui mettent en valeur la nature majestueuse-ment uniforme de l’intérieur du lieu. Des boîtiers à lumière blanche ont été spécialement créés pour la galerie du quatrième étage. Les boîtiers sont en soi assez simples, mais ces objets se révèlent être assez impressionnants puisque les fils y passent complète-ment inaperçus, et des panneaux d’accès latéraux sont aménagés pour en faciliter la maintenance. Les boîtiers contiennent des réglettes T5 et un espace de 400 m existe entre les luminaires et la couche d’in-sectes translucides, offrant ainsi une distribution uniforme de la lumière.
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prompted the lighting design to include a side illuminated solution based on Zumtobel slotlights mounted vertically and integrated within the ballustrades.Within the Design Shed the lighting design was developed to include Siteco Novaluna luminaires with T5 lamps, recessed within the acoustic ceiling rafts of seminar rooms and ‘village greens’. ERCO Cylinder lumi-naires with 70W metal halide lamps have been installed within the ‘village green’ spaces in order to illuminate the double height spaces. The overall effect is a clean aesthetic with excellent uniformity making the space usable for a wide variety of activities.Also, in the Design Shed textured concrete ‘back of house’, staircases had to be lit with quarter landings which posed a par-ticular challenge for Arup. To avoid having conduits ERCO Monopole luminaires were installed vertically running through holes in the concrete from the ground floor to the fourth floor. This relatively simple solution creates a fine effect and is one of the many examples of careful and considered thinking that has been applied to all aspects of this project.At the top of the building is the fourth floor gallery space, which acts as a centrepiece to the project. The space is gloriously multi-use and can be adapted easily to suit a range of purposes, switching from lecture theatre to events space, to gala dinner venue and art gallery. Challenges posed when it came to lighting this space were tackled with verve. The space integrates house lighting, display lighting and event lighting to match the many demands of the space. White light boxes were especially created for the gallery taking inspiration from high-end spaces such as the Saatchi Gallery in London. The boxes themselves measure over 8m in length and 2.5m wide and are designed to be quite simple, white
The fourth floor gallery space is the centrepiece of the project with a multifaceted lighting design.
082 RIBA STIRLING PRIZE 2014 / THE MANCHESTER SCHOOL OF ART, MANCHESTER, UK
Die neue Kunstschule mit ihrer bemerkenswerten Glasfassade wurde geschickt in das ehemalige Gebäude der Fakultät, dem Chatham Tower, einge-baut. Der größte Teil der Beleuchtung war für den ‘Designschuppen’ erforderlich, in dem die Studenten anzutreffen sind. Xacato LED Scheinwerfer wurden hier aufgrund ihrer Benutzerfreundlichkeit installiert, dank der die Studenten die Beleuchtung ihren Bedürf-nissen anpassen können. Erco-Zylinderleuchten mit 70W Halogen-Metalldampflampen wurden innerhalb der ‘grünen Dorfbereiche’ installiert, um die Bereiche mit doppelter Höhe zu beleuchten. Zumtobel LED Scheinwerfer wurden ebenfalls effizient eingesetzt, um die Versatzverfüllungen zwischen jeder Etage einzufassen und somit Lichtlinien zu schaffen, die die wunderschön einheitliche Natur im Innenbereich unterstreichen. Weißlicht-Boxen wurden extra für die Galerie in der vierten Etage geschaffen. Die Boxen
selbst sind recht einfach, aber die Objekte wurden eindrucksvoll gebaut, so dass die ganzen Kabel und Leitungen unsichtbar durch die Boxen verlegt werden können, während Platten für den Zugriff von der Seite für erleichterte Wartung installiert wurden. Die Boxen enthalten T5-Lichtleisten und ein 400 m großer Bereich wurde zwischen den Lampen und der durchscheinen-den Insektenschicht freigehalten, um eine einheitliche Lichtverteilung zu schaffen.
La nuova Scuola d’Arte, con la sua sensazionale fac-ciata di vetro, è stata cautamente posizionata accanto alla ex casa della facoltà, Chatham Tower. Per il “ca-pannone” dove vivono gli studenti è stata richiesta la più vasta gamma di illuminazione. Qui sono stati installati dei faretti a LED Xacato per la loro facilità d’uso, consentendo agli studenti di adattare la luce in base alle loro esigenze. Delle luci a ciclindro Erco con lampade metalliche alogene da 70W sono state in-
stallate negli spazi “verdi” del villaggio per illuminare quelli a doppia altezza. I faretti a LED Zumtobel sono anche stati utilizzati, effettivamente, per inquadra-re i punti bui tra un piano e l’altro, creando linee di luce che esaltano la natura splendidamente uniforme dell’interno. Delle Light box bianche sono state apposi-tamente create per il quarto piano della galleria. Le scatole in sé per sé sono abbastanza semplici, ma gli oggetti sono stati progettati in modo impressionante con i servizi che passano tra le scatole in modo in-osservato, mentre i pannelli di accesso laterali sono stati installati per la facilità di manutenzione. Le scatole contengono dei neon T5 ed uno spazio di 400m è stato posto tra le luci e lo strato traslucido interno, creando una distribuzione uniforme della luce.
La nueva Escuela de Arte con su sorprendente cristal exterior, se ha unido al edificio anterior de la facultad, Chatham Tower. Se requirió la mayor iluminación en
la caseta de diseño donde se encuentran los estudi-antes. Aquí se instalaron focos Xacato LED debido a la facilidad de su uso, permitiéndoles a los estudiantes adaptar la iluminación conforme a sus necesidades. Se instalaron luminarias cilíndricas Erco con lámparas de haluros metálicos de 70W dentro de los espacios verdes de la villa para iluminar los espacios de doble altura. Además, se utilizaron efectivamente focos Zumtobel LED para enmarcar los claros entre cada te-cho, creando líneas de luces que resaltan la naturaleza hermosamente uniforme en el interior. Para la galería del cuarto piso se diseñaron especialmente cajas de luces blancas. Las cajas en sí mismas son bastante sencillas pero los objetos han sido ingeniados extraor-dinariamente con servicios que pasan a las cajas de-sapercibidamente, a la vez que se instalaron paneles con acceso lateral para un mantenimiento más sen-cillo. Las cajas contienen luminarias T5 en forma de listón. También se ha destinado un espacio de 400m entre las luminarias y la capa transparente para in-sectos, creando una distribución uniforme de la luz.
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illuminated stretch fabric meeting vertical white plaster board display walls creating a continuous L-shape. The objects have been impressively engineered with services passing to the boxes unnoticed, while side access panels have been installed for ease of maintenance. The boxes contain T5 bat-ten luminaires and a 400m space has been placed between the luminaires and the translucent insect layer, creating a uniform light distribution. A full-scale mock-up was constructed during construction to fine-tune the concept developed by the Architect and Arup. The final effect is an impressive fea-ture of the room that looks equally at home whether illuminated or not.An outside roof space has also been created on the fourth floor with a covered area to counter the unpredictable Manchester weather. BEGA columns were utilised to light the area while skylights in the roof make pools of light creating an atmospheric space in the evening. An innovative solution to utilise services runs to create a covered seating area has been illuminated using IP65 rated slotlights to match the theme of lines of light prominent within the rest of the building.The benefits of the building have quickly
proved evident in results. The number of students achieving a ‘good honours’ degree has risen from 67% to 75% in the last year and applications to study at the school have risen by 17% since the faculty moved.“The new building gives us a clearer sense of our own identity,” commented Professor David Crow, the Dean of Faculty. “I actually have a petition sitting on my desk asking for the building to stay open until 10.30pm, the students enjoy using it so much. The Faculty is no longer compartmentalised, the open plan nature of the building encourages team work and a communal atmosphere, allowing students to meet others studying different aspects of the subject, making the students more employable in the process.” The Manchester School of Art is the cradle for the future artistic vibrancy of the city, so it is fitting that the institution now calls such an inspiring building home. The structure boasts both architecture and a lighting scheme that is practical, usable and economical. While stirring the artistic conscious, the building encourages the full use of the student’s talents along the lines of excellence.www.arup.com/lightingwww.fcbstudios.com
The Manchester School of Art, Manchester, UKClient: Manchester Metropolitan UniversityArchitect: Feilden Clegg Bradley StudiosLighting Design: Arup in Manchester M Farrell, J Waite, T Waterson, R Morris
PROJECT DETAILS
Siteco Novaluna direct beam CAT II with EldaconZumtobel Slotlight II Light Ribbon IP40 surface mountZumtobel Spotlight II Light Ribbon IP40 recessed with trimZumtobel CHIARO FT IP65 linear lightERCO Cylinder surface mounted to soffit downlightDW Windsor Garda LED Handrail Asymmetric Distribution – 3.6W LED strip Siteco Monsun 28W T5 linear lightERCO Optec range suspended track 35-150W HIT Projection Lighting, Curve 700 Lumen LED spotlightSiteco Lunis C 42W downlightEncapSulite MT-IK10 28W linear lightERCO 35W T5 Lightboard luminaires within ERCO Monopoll light structure 54W T5 Thorn Areaflood 1 60W floodlightBEGA 2709 30W exterior wall lightBEGA 8983 28W exterior lighting poleBEGA 8435 35W exterior bollardLighting Motions emergancy luminairesLighting Motions batten luminaires with polycarbonate diffusersWhitecroft Concert S LED downlightThorlux G3 recessed downlight 24W TC-T
LIGHTING SPECIFIED
Left The textile pattern printed on the concrete columns is a replica of a Mancunian design sold around the world. Middle BEGA fixtures were used to light an outdoor terrace area outside the fourth floor gallery. Right ERCO Monopole fixtures were used to expertly light quarter landings in the Design Shed.
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084 PROJECT / MANCHESTER LIBRARY & TOWN HALL, MANCHESTER, UK
CROWNING GLORYManchester’s Central Library and Town Hall Extension comprise the finest civic estate outside of London. Tired after a century of use the site has recently been subject to a large scale rehabilitation with BDP producing a lighting scheme that retains a studious 1920s feel while instilling a sense of the present.
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086 PROJECT / MANCHESTER LIBRARY & TOWN HALL, MANCHESTER, UK
Sitting at the very heart of the city the Manchester Town and Hall and Library comprise one of the finest civic complexes in the UK. The Gothic Revivalist Town Hall, its Neo-gothic extension and the decidedly Classical Central Library, based on the Parthenon in Rome, are grand testaments to Britain at the height of her imperial powers. The later two buildings were opened by King Emperors (George V opening the library in 1934 and his son George VI opening the town hall extension in 1938), the cornerstones making pointed reference to their dominions in India. The library occupies a critical position in the cultural consciousness of Manchester and it is woven into the biographies of the city’s heroes. A young Anthony Burgess, the Mancunian writer of A Clockwork Orange, was seduced by an older woman amid the rows of varnished cabinets that constitute the library’s index and Morrissey studied for his A Levels in the Language and Literature Library, a room that used to be located in the building’s roof, the tables reverberating with each strike of the town hall clock. 2014 saw the culmination of a four-year, £50 million refurbishment project to restore and upgrade the Library and the Town hall extension, with the building re-opening in March in time to celebrate its 80th birthday, in the finest fettle of its life, ready to welcome an estimated two million visitors a year.Designed by E Vincent Harris, the man responsible for the Ministry of Defense building in London as well as the Leeds Civic Hall and the Kensington Central Library, the Portland stone structure has undergone many piecemeal changes since its construction, but nothing to equal the breadth and scale of this project. The principle focus of the refurbishment was the restoration of heritage features such as the library’s impressive domed reading room. The room is the building’s crowning glory and its restoration has been attained while retaining the space’s iconic echo, the acoustical nature of the room prompting the moving of a chair or the dropping of a book to sound like the detonation of a nuclear device. The room’s vast expanse of white ceiling has been cleaned, the art deco light fixtures restored and the words from Proverbs “Wisdom is the principal thing; therefore get wisdom, and with all thy getting get understanding. Exalt her and she shall promote thee,” have been reconfigured in an eye catching gold leaf.The Library Theatre, the fine repertory theatre that sat beneath the reading room has been removed, the company moving to Home, a new cinema and theatre venue due to open in the city in 2015. In its place
Chelsom refurbished the Art Deco light fixtures in the Central Library and Town Hall Extention. When fixtures were too damaged to be refurbished they were replaced.
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The staircases that trace the curving walls are completely new additions to the structure, gracefully guiding visitors between floors. The tubular suspended pendents were created by Concord and mark out the landings between floors.
a media lounge and local heritage centre has been created. In conjunction with the British Film Institute the ninth incarnation of the Institute’s ‘Mediatheque’ has been installed, with a number of viewing pods offering full access to the BFI’s invaluable archive. Perhaps the most impressive factor in the refurbishment process was, despite the transformational nature of the project, the desire of those responsible to retain the original essence of the Grade II* listed buildings, preserving heritage whilst developing facilities to benefit future generations. Manchester City Council was also keen to install innovative and modern systems that would reduce the carbon footprint of the site, while delivering state of the art sustainable facilities. Facilities that benefitted Council workers in the town hall extension were also required.Alongside Laing O’Rourke, Ryder Architecture for the Central Library and Ian Simpson Architects for the Town Hall Extension, BDP provided lighting design, environmental engineering and acoustic consultancy with the aim of bringing the buildings up to modern environmental standards, while respecting their heritage.BDP wanted to not only create a lighting scheme that enveloped all the idealistic aims of the project but also wanted to set a visible new standard for environmental performance and carbon emissions in historic buildings in the process, changing the misconception that this is too difficult to achieve. This is not to say that the refurbishment process has had only a positive effect on the area, the decision by the Council to close the famous Library Walk, a pathway gracefully cut between the Central Library and the Extension, for the sake of public safety in the evening, is considered by some to be a travesty. The charismatic pathway is now encased in a glass and metallic bubble likely, in time, to be considered a carbuncle and a scar on Manchester’s architectural legacy, with the blame being placed entirely at the Council’s door.
THE CENTRAL LIBRARYThe Library has a floor area of 14,192sqm and it is the second largest public library in the UK, but ironically, before the restoration only 30% of the space was accessible to the general public. 70% of the building is now available for public use ensuring the atmosphere of the structure is one of busy vibrancy rather than the traditional hushed silence.The approach of the lighting designers revolved around the refurbishment of
088 PROJECT / MANCHESTER LIBRARY & TOWN HALL, MANCHESTER, UK
Shakespeare Hall is the impressive entry point to the Central Library. Formerly a cluttered space the area has now been opened up revealing its true shape while the impressive ceiling has been cleaned and repaired.
Manchester Central Library, Manchester, UKClient: Manchester City Council Architect: Laing O’Rourke, Ryder ArchitectureLighting Design: BDP
PROJECT DETAILS
LIGHTING SPECIFIED
Chelsom All existing heritage refurbished wall mounted, suspended globes and surface mounted lighting Concord LUMISTRIP LED tapeWhitecroft Quest LED, Philips Stylid compact continuous linear lighting track and spot Whitecroft Mirage MX, Havells Sylvannia Fixtures Ltd incorporating Concord Marlin recessed spotlightsConcord Pendant tubular suspended pendants Whitecroft Glide, Trimpak, ACF Duralie & Stiletto Five linear suspended lighting Wila Mini Puck handrail lightingXAL Combo Round recessed downlights (various sizes)Glashutte Limburg Ceiling (supplied by Concord), Whitecroft Centurion PP65 surface mounted bulkhead lightingArtemide Tolomeo Faretto LED wall mounted task lightingVentilux emergency lightingArclight Heritage external window lightingacdc Plaza external floodlighting
heritage luminaires where possible in order to maintain the original character of the building. This process was led by the Blackpool based Chelsom. In conjunction with this painstaking process, new energy efficient lighting systems were also installed in areas that have been modernised. BDP were well aware that the building’s listed status was likely to impose many constraints on the development of a lighting concept and this proved to be the case. Some of the original luminaires were beyond repair and required replicas to be manufactured by Chelsom, as well as this existing wiring points had to be used in many of the heritage areas. This limited the positioning of luminaires and prevented fixtures being positioned in optimal locations, on top of this all changes required the approval and input of English Heritage. The library had a wide variety of luminaires that had been added over the years on an ad hoc basis, an approach that prompted
the building to appear disorganised and cluttered. The new scheme has restored much of the original design intent in heritage areas while the fixtures have been fitted out with modern lamps and control gear to increase the efficiency of the installations, creating a stimulatingly lit environment, which responds to and integrates with the historic architecture. In newly formed areas light plays a huge part in the perception of the space. The light scheme has been developed in response to the likely requirements of the visitor in each space. For example a considered use of darkness was particularly important in areas such as Archives+ and the Mediatheque, where media screens and display items require a lower level of ambient lighting to create contrast and highlight. Recessed spotlights by Havells Sylvannia and recessed downlights by XAL have been used to highlight the space and its heritage architecture, while sleek
looking tubular suspended pendants by Concord hang by the lift shafts and newly installed staircases, working well within these reconstructed areas, while also not being too out of place when compared with some of the heritage fixtures from the 1920s. The staircase rails feature Wila Mini Puck handrail lights acting as good guidance markers.Heritage luminaires beautifully uplight the refurbished Shakespeare Hall, the main entrance point to the library, beautifully highlighting the ceiling that bears the city’s medieval livery. “The Central Library is one of the focal points of the city centre and has a unique character that BDP strived to preserve although it is obviously a complex task to try and bring such historic infrastructure into the 21st century and make it genuinely sustainable. The sensitive integration of modern technologies was an important part in this refurbishment project and required very careful planning and delicate
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execution,” commented Chris Lowe of BDP, the project’s lighting designer who worked on the project through its different stages.
THE TOWN HALL EXTENSIONManchester’s Town Hall Extension is perhaps of even more architectural consequence than the Central Library. Designed again by E Vincent Harris the building gracefully bridges the Gothic Town Hall with the Library by retaining an essentially Gothic style, while also adding contemporary touches such as a steeply angled roof. Grade II listed, the building is something of a one off and is one of the best examples of English architecture in the years preceding WW2.The building houses many of Manchester City Council’s key functions and the interior was characteristic of the time it was created, stuffy, restrained and inherently undemocratic in nature, excluding everyone but those doing the governing. The aim therefore was to overthrow this and create
a democratic building, an open, engaging workspace, a building of the people, by the people, for the people.With a floor area of 31,073sqm, the extension houses office areas for council staff, a council chamber and associated member’s committee rooms, a customer services centre at ground floor level and a city library at basement level complete with a cafe area.As well as aesthetics, practicality and accessibility, this project was about reconfiguring the administration of the city and making the decision making process more accessible to the people. It was about creating a comfortable base for council workers, who reside in a building that was not originally designed with employee welfare as a primary consideration. The project aimed to recognise that buildings define the way their occupants work and interact and therefore the challenge was to take an eighty year old structure and convert it to meet modern, open and
collaborative working requirements.Like with the library the aims of the project had to be achieved while remaining sensitive to the much-loved original architecture and this was certainly the case when BDP began to create a lighting scheme. One of the client’s major design aspirations, like in the Library, was to restore the original lighting concept and preserve heritage luminaries where possible. The new lighting scheme plays a large part in the user’s overall experience by providing a stimulating lit environment, which responds to and integrates with the historical architecture. Luminaires in heritage areas have again been refurbished by Chelsom with modern lamps and control gear to increase the efficiency of the installations whilst maintaining the original intent. In newly formed areas the light responds to the visitor’s requirements for task, focus, architectural definition and pleasure. In
Top left The City Library where XAL Combo Round recessed downlights have been used within the space. Top right The heritage aspects of the Central Library are considerable where books formally hidden in the massive library archive have been placed in public view. Top left Vela Round fixtures by XAL were used to fine effect in some of the extended office spaces creating lines of light that stretch across the room. Above right A heritage link corridor in the Extension.
090 PROJECT / MANCHESTER LIBRARY & TOWN HALL, MANCHESTER, UK
中央図書館の照明デザインは歴史的な遺産である照明器具の改修を中心に行われた。また、図書館を訪れる利用者がが各スペースに要求し得る期待に応えることも照明プランを決める基準となった。たとえばメディア画面が設置されるArchives+やMediatequeなどのエリアでは暗がりを巧みに利用することが非常に重要であった。先端技術を巧みに融合することも改装作業において非常に重要であり、また、慎重な計画立案と細心の注意を払いながらの施工が求められる。たとえば歴史的資産で多くの配線ポイントを使用しなければならないような場合がこれにあたる。Town Hall Extensionのオリジナルの取付金具も改修された。この部分の改装は広 と々した、魅力あふれる市民のための作業空間を作ることがを目的であった。現代的デザインの灯りと光調節装置が設置され、もともとの設計意図
を汲みつつも、設備の効率性が高められた。新築エリアでは照明が利用者の要求に答えるように特別に設計されているため、その場所のあり方を決定づける大きな要素となっている。建物大部分を占めるオフィスエリアでは照明を多様なサービス といかに結び付けるか、ということに尽力した結果、其々の作業に適した照明をオーダーメイドでつくることになった。
中心图书馆的照明设计围绕对老照明设备的翻新进行。照明方案的设计特别关注每个空间读者的潜在要求。例如，对暗光的使用在诸如使用多媒体屏幕的档案室和媒介中心等区域显得很重要。现代技术的细致整合也是翻新项目的重要一环，它需要很小心的规划和周密的执行，例如，现有的布线点就必须用于很多老区域。礼堂扩建建筑的原有配件也必须加以翻新。项目
这一部分的目标是营造一种开放而充满吸引力的工作场所、一种以人为本的建筑。这里安装了现代灯具和控制装置，以提高装置效率，并保持原有的设计内涵。在新建成的区域，灯光通过对读者要求做出反应的方式，在这些区域的感官构成中起到了很大的作用。在占该建筑一大半的办公区域，设计集中关注将照明整合到多服务层面，而这一点，则是通过针对特定任务定制照明设备来实现的。
La conception de l’éclairage de la Bibliothèque Centrale s’appuie sur la rénovation de luminaires anciens. L’ensemble de l’éclairage a également été conçu en réponse aux éventuels besoins du visiteur dans chaque espace. Par exemple, une utilisation réfléchie d’une pénombre était particulièrement importante dans des lieux tels que les archives et à la médiathèque, où des écrans multimédias sont
utilisés. Une habile intégration des technologies modernes s’avérait un élément important du projet de rénovation et cela exigea une planification très détaillée et une exécution minutieuse ; par exemple, les circuits électriques existants devaient être utilisés dans plusieurs des biens culturels anciens. Les rac-cords d’origine de l’extension de l’Hôtel de Ville ont également été rénovés. Pour cette partie du projet, l’objectif était de créer un espace de travail engag-eant et ouvert, en d’autres mots, un bâtiment voué aux utilisateurs. Des lampes modernes et des instru-ments de contrôle ont été installés afin d’accroître l’efficacité des installations, tout en conservant le concept d’origine. Dans les zones nouvellement aménagées, la lumière joue un rôle crucial dans la perception des espaces en répondant aux exigences des visiteurs. Dans les espaces dédiés aux bureaux, qui constituent la majorité de l’immeuble, des ef-forts ont été faits afin d’intégrer l’éclairage aux îlots multiservices, en créant des luminaires sur mesure adaptés aux nécessités des lieux.
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Top left One of the office spaces in the Town Hall Extension. Linear light fixtures were installed to create an unencumbered design. Above right A corridor in the Town Hall Extension, the refurbishment of the original light fixtures was a key plank of the lighting design. Above left A committee room, the project aimed to ensure that the running of the city administration was streamlined by the refurbishment project. Above right The main council chamber in the Extension building.
the office spaces, which make up a large percentage of the building’s area, there was a multi disciplinary collaboration to integrate lighting into the multi-service rafts. This was achieved by providing bespoke luminaires suited to the task.In extended office areas the modern looking Vela Round fixture by XAL was used in duplicate creating a hypnotic repetition of circular discs crossing the room, while in
other spaces the Concord Continuum was used when a linear light was required.In the public service hub the original roof lights were refurbished, making the space light, bright and open. Light wells in the floor allow natural light to stream into the extended Central Library in the lower ground floor. Glashutte Limburg 4836 tubular pendants were used in link corridors, matching their
use in the Library.The Rates Hall, which sits on the ground floor of the extension, now restored to its full beauty thanks to Ian Simpson Architects is one of the finest formal rooms in the country. The extraordinarily beautiful light fittings in the gently curving space have been perfectly restored by Chelsom, highlighting the polychromatic marbles that fill the room with dignified colour, while
092 PROJECT / MANCHESTER LIBRARY & TOWN HALL, MANCHESTER, UK
Manchester Town Hall Extention, Manchester, UKClient: Manchester City Council Architect: Ian Simpson ArchitectsLighting Design: BDP
PROJECT DETAILS
LIGHTING SPECIFIED
Chelsom All existing heritage refurbished wall mounted, suspended globes and surface mounted lighting Concord LUMISTRIP LED tapeConcord Beacon Muse track and spotXAL Combo Round recessed downlights (various sizes)Simes Lift Rectangular (supplied by Concord) wall mounted downlights (various sizes)Concord Continuum continuous linear lightingConcord LS200 T5 cove uplightingWhitecroft Mirage MX, Projection Lighting Mini Washer recessed spotlights XAL Vela round circular pendants (various sizes)Glashutte Limburg 4836 (supplied by Concord) tubular suspended pendantsGlashutte Limburg 8894/5 (supplied by Concord) surface mounted bulkhead lightingWila Mini Puck handrail lightingWhitecroft i-track bespoke surface mounted linear lighting with integrated services Whitecroft Lighting Cascade Edge & Hygiene 600x600 lightingGlashutte Limburg The Sphere (supplied by Concord) Globe pendant luminairesWhitecroft Concert & Mirage surface mounted downlightsTrilux E-Line T5 & Luceo surface mounted linear lightingWhitecroft Stiletto Five, Radial & TrimpakLouis Poulsen PH 4½ - 3½ free standing and table lightingVentilux emergency lighting
The Rates Hall in its restored glory. Reconstructed fixtures from Chelsom light the hall’s beautiful marble walls and carved ceiling.
Das Beleuchtungsdesign in der Zentralbibliothek dreht sich um die Modernisierung der historischen Leuchten. Das Lichtkonzept wurde ebenfalls in jedem Bereich als Antwort auf die erwarteten Ansprüche des Besuchers entwickelt. Zum Beispiel war eine wohlüberlegte Benutzung von Dunkelheit besonders wichtig in Bereichen wie Archive und Mediathek, in der Medienwände eingesetzt werden. Die sensible Einbindung moderner Technologien war ebenfalls ein wichtiger Teil des Modernisierungsprojekts und dies machte eine sehr sorgfältige Planung und fein-fühlige Durchführung erforderlich. So mussten zum Beispiel bestehende Verkabelungspunkte in vielen übernommenen Bereichen verwendet werden. Die ur-sprünglichen Befestigungen der Rathauserweiterung wurden ebenfalls aufgearbeitet. Ziel dieses Projek-tabschnitts war die Schaffung eines offenen, einla-denden Arbeitsbereichs, ein Gebäude für die Men-schen. Moderne Lampen und Betriebsgeräte wurden installiert, um die Effizienz der Installationen zu stei-gern und gleichzeitig die ursprüngliche Absicht des
Designs zu bewahren. In neu gebildeten Zonen spielt die Beleuchtung eine wichtige Rolle bei der Wahrneh-mung der Bereiche, indem das Licht die Ansprüche der Besucher erfüllt. In den Bürobereichen, die den größten Teil des Gebäudes ausmachen, wurde Wert darauf gelegt, die Beleuchtung in das Mehr-zweck-Plattenfundament zu integrieren. Dies wurde durch die Schaffung maßgeschneiderter Leuchten erreicht, die für diese Aufgabe geeignet sind.
Il progetto di illuminazione della Biblioteca centrale ruota attorno alla ristrutturazione di luminarie già esistenti. Lo schema delle luci è stato sviluppato in risposta alle probabili esigenze del visitatore in ogni spazio. Ad esempio, un uso più cauto della luce era particolarmente importante in settori quali gli archivi e la Mediateca, in cui vengono utilizzati i media schermi. L’integrazione sensibile delle mod-erne tecnologie è stata anche una parte importante del progetto di ristrutturazione e questo ha richiesto una pianificazione molto attenta ed un’ esecuzione delicata, ad esempio i punti di cablaggio esistenti
dovevano essere utilizzati in molte delle aree del patrimonio. Sono stati rinnovati anche gli accessori originali della Hall Extension Town. L’obiettivo in questa parte del progetto era quello di creare uno spazio di lavoro aperto e coinvolgente, cioè un edi-ficio per il popolo. Per aumentare l’efficienza degli impianti, mantenendo l’intento del progetto originar-io, sono state installate lampade moderne e reat-tori. Nelle zone di nuova costruzione, la luce gioca un ruolo fondamentale nella percezione degli spazi e con la luce si risponde alle esigenze del visitatore. Negli uffici, che costituiscono la maggior parte della costruzione, sono stati fatti degli sforzi per integrare l’illuminazione nelle zattere multiservizio, creando delle luminarie su misura adatte per questo compito.
El diseño de iluminación de la Biblioteca Central gira entorno a la restauración de luminarias heredadas. El proyecto de luces también ha sido desarrollado en función de los probables requisitos del visitante en cada espacio. Por ejemplo, fue particularmente im-portante el uso considerado de la oscuridad en zonas
como Archives+ y el Mediatheque, donde se utilizan pantallas multimedia. La sensible integración de tecnologías modernas fue también una parte impor-tante del proyecto de restauración: lo que requirió una planificación cuidadosa y una ejecución deli-cada, por ejemplo, las instalaciones eléctricas exis-tentes tuvieron que utilizarse en muchas de las zonas del patrimonio del lugar. El equipamiento original de la Extensión de la Municipalidad también debió restaurarse. El objetivo en esta parte del proyecto fue crear un espacio de trabajo abierto y encantador, un edificio para la gente. Se instalaron lámparas mod-ernas y mecanismos de control de iluminación para aumentar la eficiencia de las instalaciones, a la vez que se mantenía el propósito del diseño original. En las áreas que fueron creadas a nuevo, la luz juega un rol enorme en la percepción de los espacios en donde la luz responde a los requisitos del visitante. En los espacios de oficinas, que componen la mayor parte del edificio, se ha hecho un esfuerzo muy grande para integrar la iluminación al espacio de multiser-vicios, creando luminarias diseñadas especialmente que encajen perfectamente con la tarea.
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tall windows allow daylight to be cast on the civic crests and symbols that cover the ceiling. Hidden away and partitioned in the grim days of Manchester’s 1980s, this most regal of rooms is now home to the council’s customer services department meaning that the general public are able to come into contact with it everyday highlighting the democratic nature of this project.The lighting design for the Manchester Central Library and Town Hall Extention successfully delivers an efficient, flexible and adaptable space with occupant comfort at the heart of the design.
The redevelopment has been well recived and Councilor Rosa Battle, Executive Member for Culture and Leisure, termed the work ‘spectacular’.The result is the creation of a building that hounours knowledge and education and stands as a shining example of what can be achieved when an administration of government, be it local or national, puts its focus squarely on the bettering of the educational opportunities of its citizens, while also encouraging people to actually use once forbidding buildings to their full extent.
As you walk around some of the public areas of the Town Hall Extension, visitors will notice a poster displayed on walls around the building that reads, ‘No matter who you are or where you are from Manchester is and always will be, yours’. The placing of equality at the centre of this project will ensure that all the city’s people feel welcome and comfortable in Manchester’s civic heart.www.bdp.com
094 PROJECT / 55 PRINCESS STREET, MANCHESTER, UK
OPEN FOR BUSINESS
When Benson Elliot Capital looked to revamp the office space at 55 Princess Street it turned to 5Plus Architects and Hoare Lea Lighting - transforming and lifting the building’s visibility through efficient and effective design.
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55 Princess Street offers quality office accommodation in the heart of Manchester city centre. Designed by award-winning architects Hodder & Partners, it is arranged over seven storeys comprising 56,476 sqft and features a stunning double height entrance reception, along with a distinctive steel and glass bridge that gives access to the first floor offices.Asset managed by Cube Real Estate on behalf of Benson Elliot Capital, which acquired the building in 2013, 55 Princess Street has recently undergone somewhat of a revamp - revitalising numerous internal spaces. As part of the revamp, Hoare Lea Lighting was commissioned by 5Plus Architects and Project Manager Powell Williams to create various inspiring lighting solutions.When it came to redesigning the lighting in the reception and waiting area, Hoare Lea Lighting concentrated on giving the welcome desk more prominance; a reception area after all, forms an integral part of any building and projects a first impression of a business to its visitors.Integral kick-zone lighting from Osram has been fitted to the desk while three Schmitz Box pendants are suspended above the desk illuminating the worktop, while adding brightness and a more dramatic feel to the
096 PROJECT / 55 PRINCESS STREET, MANCHESTER, UK
High performance floodlights from acdc have been incorporated into the light well - mounted on the internal office façade, in order to preserve the listed façade. The floodlights project up the light well, illuminating the complex space and eliminating the contrast problem.
space. Along the internal reception wall existing cove detail has been cleaned and re-lamped providing a wash, along with a lit element within the glazed section of the upper walkway - adding vertical illuminance to the ground floor and a lit feature to the first floor walkway. As part of 55 Princess Street’s new look, the waiting area has also been remodelled and now includes a bookcase with lighting on the shelves, adding warmth and giving the space a relaxed, domestic feel. Acoustic treatment to the underside of the first floor walkway has also allowed high-efficiency Etap LED down lights to be integrated with integral emergency lighting in order to raise the ambient internal illumination while maintaining a clean
appearance.One final touch to the reception / waiting area involved linear fluorescent luminaires from Fagerhult, aligned to provide ambient illumination and a bright visible light source along the soffit on the upper level of the reception area. The lighting installation continues from the reception out onto the external canopy, complementing the lines of light and visually linking the internal and external spaces.Commenting, David Linville-Boud, Executive Lighting Designer at Hoare Lea Lighting said: “Linear LED lines of light supplied by NJO now run from outside, through the front glazing and along the length of the reception. Incorporated into the architectural detail to give a high quality
55 Princess Streetに位置し、マンチェスター市中心にある高級オフィス。建築賞受賞歴のある建築事務所 Hodder & Partners がデザインし、7つの階層全体にわたり配置された。その延べ床面積は 56,476 平方フィート(5,247平方メートル）。エレベータからエントランス上の二階オフィスへの渡り廊下となっている特徴的な鉄とガラス素材の橋に沿い、見事な吹き抜けのエントランスレセプションが配置されている。5Plus Architects とそのプロジェクトマネージャー Powell WilliamsがHore Lea Lightingに多様な内部スペース、主にエントランスとオフィスのスペースを刷新する照明デザインを依頼したのはごく最近のこと。指定された照明はEtap、 Fagerhult、 Luxonic、 NJO、 Osramや Photonstar等の製品だった。 Cube Real EstateのDirectorであるJonathan Lawes
からのコメントは「Hoare Lea Lightingの照明デザインにより、建物全体が生まれ変わった。非常に満足している。」というもの。 5Plus Architectsの建築家Claire Hawkinsはこれに加え、「今回の建て替えはHoare Lea Lightingの仕事無しには考えられない。この照明デザインは建物のエントランスの可視性を高め、オフィスエリアを底上げし、エントランスを見違えるようにするための極めて重要な役割を果たした。」と述べている。
公主大街 55 号是曼彻斯特市中心的一座高档写字楼。该建筑由获奖建筑设计师事务所 Hodder & Partners 设计，楼高七层，建筑面积 56,476 平方英尺。它具有富丽堂皇的双层门厅和与众不同的钢材玻璃桥，人员可借此从电梯直接进入门厅上方的第一层办公室。Hoare Lea 照明最近受 5Plus 建筑师事务所和项目经理 Pow-
ell Williams 的委托 ，负责设计一个可以活跃多个内部空间（主要是门厅和办公区域）的照明解决方案，并需要利用来自 Etap、Fagerhult、Luxonic、NJO、Osram 和 Photonstar 等制造商的产品。对于该项目，Cube 地产的董事 Jonathan Lawes 评论道：“Hoare Lea 照明设计的照明解决方案帮助改造了整座建筑，我们对结果很满意”5Plus 建筑师事务所建筑设计师 Claire Hawkins 补充道：“Hoare Lea 照明是整个团队中不可或缺的一部分——他们的设计对整个门厅区域的改造中至关重要，不仅增强了建筑入口的可见性，更提升了办公区域的档次”
Le 55, rue Princess propose des bureaux de standing au cœur du centre-ville de Manchester. Conçu par le très reconnu cabinet d’architectes Hodder & Partners, cet immeuble est agencé sur sept étages et 56 476 pieds carrés, présentant un hall d’entrée
à double hauteur magnifique paré d’un pont remar-quable en acier et en verre qui permet l’accès des ascenseurs aux bureaux du premier étage, situés au-dessus de l’accueil. Le cabinet 5Plus Archi-tects et le gestionnaire de projet Powell Williams ont récemment commandé à Hore Lea Lighting la création d’une solution d’éclairage qui revitaliserait les différents espaces intérieurs, et principalement la zone d’accueil et les bureaux - en utilisant des produits de fabricants comme Etap, Fagerhult, Lux-onic, NJO, Osram et Photonstar. Jonathan Lawes, directeur de Cube Real Estate a déclaré au sujet du projet: “L’éclairage conçue par Hoare Lea Lighting a contribué à transformer l’ensemble du bâtiment et nous sommes ravis du résultat.” Claire Hawkins, ar-chitecte chez 5Plus Architects a rajouté : “L’équipe de Hoare Lea Lighting fut partie intégrante du projet et leur conception a jouée un rôle central dans la transformation de la zone d’accueil en décuplant la visibilité de l’entrée du bâtiment et en agrandissant l’espace dédié aux bureaux.”
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finish, these draw the eye to the reception, announcing that the building is open for business.”The other main area to benefit from the lighting refit is the office space. Previously, the office floor plates had suffered from high contrast ratios between the glazed sections and solid sections of wall - creating the appearance of a dark space even though the task lighting in place was sufficient. Linville-Boud explained: “To balance the contrast and raise the visual impression, linear fluorescent wall washing from Luxonic was added to the solid perimeter panels, this reduces the contrast between the panels and the glazing. Careful detailing has allowed the luminaires to be concealed, creating a glow down the panels without
Pic: Redshift Media Production
098 PROJECT / 55 PRINCESS STREET, MANCHESTER, UK
55 Princess Street, Manchester, UKClient: Benson Elliot Capital ManagementAsset Manager: Cube Real EstateContractor: Flexible Business InteriorsArchitect: 5Plus ArchitectsProject Manager: Powell WilliamsLighting Design: Hoare Lea Lighting
PROJECT DETAILS
LIGHTING SPECIFIED
acdc PLAZA surface mounted uplightersEtap D42 recessed luminaire downlightsEtap K9 emergency LED lighting Fagerhult Telescope AquaLuxonic Slimlux luminairesLuxonic V-LED 50 downlightsLuxonic V-LED 100 downlightsMuuto Cosy LampsNJO LEDs PDS Series linear feature lightsOsram LINEARlight Flex Protect Eco flexible LED modulesPhotonstar CeilingStar LED downlightSchmitz Box pendant lights
Far left LED lines of light run from outside, through the front glazing and along the length of the reception, announcing the building is open for business. Top left Luxonic LED fittings replace Tungsten halogen downlighters in the toilets Bottom left Fluorescent luminaires provide ambient illumination and a bright visible light source along the soffit on the upper level of reception.
the distraction of visible light fittings.”The other issue with the office space related to years of maintenance, which had resulted in mismatched lamp specifications. The floor plates were therefore re-lamped by Hoare Lea Lighting to ensure the light levels were as they were intended in the original design and that lamp colour temperatures were consistent.Another element of the lighting upgrade focussed on the light well used to separate the listed façade from the internal office space - this created a high contrast ratio between the lit floor plates and the light well. High performance floodlights from acdc have been incorporated into the light well – these are mounted on the internal office façade in order to preserve the listed façade and project up the light well illuminating the complex space and
eliminating the contrast problem.For the lift and toilet lobbies Tungsten halogen lighting has been replaced with LED downlights from Luxonic to give continuity to the space. In the toilets specifically, Tungsten halogen downlighters have been replaced with high-efficiency LED fittings from Luxonic as the space appeared gloomy and the technology was out-of-date. Additional fittings have also been installed to complement the architecture, while retained existing lighting has been cleaned and re-lamped.Last but not least, with the addition of bicycle storage to the office accommodation it was necessary to provide changing facilities and showers at 55 Princess Street and so Hoare Lea Lighting worked alongside colleagues from Hoare Lea, which provided building services in this area, to devise
55 Princess Street bietet hochwertige Bürofläche mitten in der Innenstadt von Manchester. Es wurde durch die preisgekrönten Architekten Hodder & Partners entwor-fen, erstreckt sich über sieben Etagen, umfasst 56.476 Quadratfuß und verfügt über einen atemberaubenden Ein-gangsempfang mit doppelter Höhe und einer markanten Brücke aus Stahl und Glas, über die man zu den Aufzügen gelangt, mit denen man in die Büros der ersten Etage über dem Empfang gelangen kann. Hore Lea Lighting wurde kürzlich von 5Plus Architects und Projektmanager Powell Williams beauftragt, eine Beleuchtungslösung zu finden, die die verschiedenen Innenbereiche belebt, insbesondere den Empfangs- und den Bürobereich - unter Verwendung von Produkten von Herstellern wie Etap, Fagerhult, Luxon-ic, NJO, Osram und Photonstar. Als Kommentar zu diesem Projekt erklärte Jonathan Lawes, Direktor von Cube Real Estate: “Die von Hoare Lea Lighting entworfene Beleuch-
tungslösung hat zu der Umwandlung des gesamten Geb-äudes beigetragen und wir sind von dem Ergebnis begeis-tert.” Claire Hawkins, Architekt, 5Plus Architects, fügte hinzu: “Hoare Lea Lighting war ein fester Bestandteil des Teams - ihr Design war ausschlaggebend für die Umwand-lung des Empfangsbereichs, indem es die Sichtbarkeit des Gebäudeeingangs verbesserte und dem Bürobereich
Auftrieb verlieh.”
In 55 Princess Street si possono trovare uffici di qualità nel cuore di Manchester. Progettato dai premiati architetti Hodder & Partners, l’edificio si erge su sette piani e com-prende 56.476 metri quadrati ed una splendida reception a due piani con un distintivo ponte di vetro e acciaio che consente l’accesso dall’ascensore agli uffici del primo piano, sopra la reception. Hore Lea Lighting è stato re-centemente commissionato da 5plus Architects e Project Manager Powell Williams, per creare una soluzione di il-luminazione che avrebbe rivitalizzato i vari spazi interni,
soprattutto la zona della reception e gli spazi per gli uffici, facendo uso di prodotti di produttori come Etap, Fagerhult, Luxonic, NJO, Osram, e Photonstar. Commentando il pro-getto, Jonathan Lawes, direttore di Cube Real Estate, ha detto: “La soluzione di illuminazione progettata da Hoare Lea Lighting ha contribuito a trasformare l’intero edificio e siamo soddisfatti del risultato”. Claire Hawkins, architet-to di 5plus Architects, ha aggiunto: “Hoare Lea Lighting è una parte integrante della squadra ed il loro design è stato fondamentale nel trasformare l’area della reception, aumentando la visibilità dell’ingresso dell’edificio e sol-levando lo spazio degli uffici”.
55 Princess Street ofrece espacios de oficinas de calidad en pleno corazón de la ciudad de Manchester. Diseñado por los galardonados Arquitectos Hodder & Partners, se en-cuentra dispuesto en siete plantas, en un espacio de 5.250 metros cuadrados, a la vez que presenta una contundente
recepción de entrada de doble altura, junto con un em-blemático puente de acero y cristal que permite el acceso desde los ascensores hasta las oficinas del primer piso que se encuentran sobre la recepción. 5Plus Architects y el Gerente de Proyecto, Powell Williams, le encomendaron recientemente a Hoare Lea Lighting, crear una solución en cuanto a la iluminación que revitalizara varios de los espacios internos, principalmente la zona de recepción y el espacio de oficinas - utilizando productos de fabricantes como Etap, Fagerhult, Luxonic, NJO, Osram, y Photonstar. Al comentar sobre el proyecto, Jonathan Lawes, Director de Cube Real Estate, dijo: “La solución de iluminación diseñada por Hoare Lea Lighting, ha contribuido en la transformación del edificio entero y estamos encantados con el resultado.” Claire Hawkins, Arquitecto de 5Plus Architects, agregó: “Hoare Lea Lighting fue parte integral del equipo – su diseño fue crucial en la transformación de la zona de la recepción, aumentando la visibilidad de la entrada del edificio y resaltando el espacio de oficinas.”
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lighting that tied in with the rest of the building. The changing rooms have been designed to complement the refurbished toilets and lighting provided by Luxonic and Photonstar now work to provide a clean and bright space.Claire Hawkins, Architect, 5Plus Architects, commented on Hoare Lea Lighting’s involvement in the project: “They were an integral part of the team – their design was pivotal in transforming the reception area, increasing the visibility of the building entrance and lifting the office space through an efficient and effective design.”Summing up, Jonathan Lawes, Director of Cube Real Estate added: “The lighting solution designed by Hoare Lea Lighting has assisted in transforming the whole building and we are delighted with the result.”www.hoarelealighting.com
L’ Avenue - Shanghai
photography by Jason L Findley
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IP2370_1pp.indd 1 18/11/2014 6:47 pm
100 PROJECT / 1 HARDMAN STREET, MANCHESTER, UK
No.1 Hardman Street is located at the heart of Spinningfields in Manchester City Centre. This recently completed new building provides five floors of office space and is a piece of contemporary architecture that sits comfortably alongside both its historic neighbours and the large glazed buildings of this commercial district of the city.Levitt Bernstein’s design was the winner of a competition organised by Allied London in 2009 to design a scheme for one of the few remaining plots in the Spinningfields development, which is closely bounded by numerous other buildings.The winning scheme was initially designed as a restaurant and art gallery space. Over the subsequent years the increased need for high quality office space and the design of the building was adapted, increasing the floor area to create offices with an internal aesthetic to cater for future users.Being one of the smaller buildings of the Spinningfields redevelopment, the design seeks to maximise its visual impact and optimise the potential of the site. The new building is sensitive to its location within a conservation area while expressing a contemporary and individual character, providing a visual juxtaposition between the surrounding historic and contemporary developments.The distinctive external materials are a key design feature of the new building providing a strong visual identity. The main building envelope consists of a checkerboard layout of black cladding panels and large windows. At ground floor and around the parapet of the building, the insulated panels have been finished with a high quality textured (Rimex) metal finish, which subtly changes with varying light conditions. In bright sunlight, the upper reaches of the building seem to mirror the blue skies above, while in darker conditions, the appearance is similar to that of the simple black panel beneath, which can be seen to the rear elevation.This screen provides a contrasting veil to the front and part side elevations of the building. Light Bureau has designed lighting to illuminate the building, ensuring the building has an identity of its own both day and night.Although Levitt Bernstein approached Lighting Bureau with a view to designing a façade lighting scheme in 2008, it took until December 2013, just a few months to completion, before an appointment was agreed with the client. It’s fair to say that technology has moved on a long way in the intervening five years so it was probably a good thing that not too much time was spent on an early solution. As it
was already late in the build, any change to the architecture was going to have to be limited.The architecture is unapologetically contemporary and the scale of the building is quite small in comparison to neighbouring structures, which enclose and look on to it. On this basis, it was felt that the lighting response should be playful and enhance the permeable building screen. Light Bureau investigated options but, as often happens, the first intuitive response was the one it adopted. The circular perforations in an otherwise simple rectilinear box are what defines the building and so they sought to express those. The holes would be visible from all directions and Light Bureau felt that the depth of the façade panels would be enough to capture highlights lit strongly from an acute angle. The base of the façade screen was a natural point at which to locate the light sources and the internal face allowed uninterrupted grazing to the whole height.Mediacom has a strong colour associated with its identity and whilst the lighting can achieve millions of alternatives, the design team felt that the general effect was already enough and that the colour stay within Mediacom’s palette, thereby reinforcing their identity. The project is in fact a very simple treatment but is all the more effective for a clear concept.The budget for the project was extremely limited and so Light Bureau’s fee, and therefore involvement, had to be proportional to the available funds. Paul Traynor, Principal of Light Bureau, commented, “There’s no joy in designing an amazing scheme but then the actual realisation of the project is curtailed because you’ve used too much of the budget on the design. We were keen to ensure that as much of the money as possible was available for the supply and installation.”This meant that Light Bureau needed to find a manufacturer they could trust to take their developed strategy to a finished project. They felt that Lumenpulse offered the right product and importantly, that Lumenpulse would support the construction team through implementation and commissioning. They chose well and all parties were impressed by the attention that Lumnepulse offered throughout. Traynor concluded, “So many projects are let down by lackadaisical or inadequate attention to detail and service. We think the client got best value for his budget and the tenant has a scheme that underlines their brand values.”www.lightbureau.com
1 Hardman Street, Manchester, UKClient: Mediacom Architect: Levitt Bernstein Lighting Design: Light Bureau
PROJECT DETAILS
LIGHTING SPECIFIED
15 x Lumenpulse Lumenfacade RGBW linear grazer1 x Lumenpulse iCBOX control box1 x Pharos Touch Panel Controller1 x Pharos PoE Switch1 x Pharos 48V DIN Rail power supply
Pic: David Millington
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IN THE PINKA modern building, designed by Levitt
Bernstein, required a night-time identity for client Mediacom. Light Bureau and
Lumenpulse were happy to oblige.
102 ART & DESIGN / ART INSTALLATION
A SIMPLE SOLUTIONrealities:united worked with existing lighting infrastructure to create an installation that would not only
work to inspire students at Zurich University of the Arts, but to fuse together various building spaces.
The Toni Areal - home to Zurich University of the Arts - was the recent recipient of a light and art installation realised by Berlin-based studio, realities:united. Covering the main entrance space (6,000m²), along with general public areas connecting the ZHAW and ZHdK buildings - bringing the total lighting space to 92,000m² - the installation came together through the simple rearrangement of existing lighting infrastructure, with no additional components or design elements brought in.The installation acts as a catalyst, demanding the users’ appropriation of the different spaces. Students who exhibit their work in the space won’t find surfaces
optimised for exhibition operations, but rather an area that provokes interaction with and possibly changes, the given conditions. realities:united’s new lighting arrangement sees off-the-shelf fluorescent tubes concentrated asymmetrically in massive clusters, throughout individual parts of the space - resulting in a marked difference between dim and bright light, and energy-rich / energy-poor sections of the space. This energetic division of the space is indifferent to the architecture - following no technical grid arrangement. No even brightness is produced and there is no relation to other typologies; nor does the conglomeration of lamps result
in an unambiguous ‘light sculpture’. The erratic ‘wild’ system of lighting doesn’t obey the usual strategies and rules of light planning and the occurrence of various concentrations is unpredictable.From such asymmetrically illuminated segments of the building, at the opposite end of the scale, comes the many interior corridors and functional rooms in which identical lamps have been installed in a conventional and regular arrangement. The two very different approaches to lighting coexist in the building, interpenetrating each other in some places and thereby calling each other into question.www.realities-united.de
Photos: Simon Menges
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WAY TO THE STARSDann Roosegaarde labelled the ‘hippie with a business plan’ by the arts press in his native country, has paid
tribute to Vincent van Gogh in his latest project, a bicycle path inspired by one of his greatest paintings.
Dann Roosegaarde has a long history of producing projects that thrill and inspire. Be it the sparkling sensitivity of the Lotus dome or the inventiveness of his new smog-busting project in Beijing.Roosegaarde’s latest project, involved the creation of a bicycle path in honour of Vincent van Gogh, another Dutch artist who bears just a little more than a passing resemblance to Roosegaarde in the flesh. The path, which comes to life at night in light was inspired by Van Gogh’s famous ‘Starry Night’ painting and is the first event in a planned year long programme of events to mark the 125th anniversary of the painter’s death.Roosegaarde teamed up with Heijmans Infrastructure to create the 1-kilometre-long van Gogh-Roosegaarde cycle path,
which opened in the city of Eindhoven on November 13.The path will be illuminated by thousands of twinkling LED stones that mirror the same colours used in the painting by van Gogh. “The piece creates a play on light and poetry,” says Roosegaarde. “I wanted to create a place that people will experience in a special way, that combines modern technicality with experience, that’s what techno-poetry means to me.” The path has since become a meeting point and a popular location for a first date.The cycle path forms part of the van Gogh cycle route that connects the Vincent van Gogh heritage locations in Brabant, van Gogh’s homeland where the world-famous artist produced his first masterpiece, The Potato Eaters in Nuenen. The area also
boasts the Opwettense and Colse watermills that feature in his paintings. From November the new cycle path will link the two watermills, bridging the gap between contemporary design, innovation, cultural heritage and tourism in Brabant.With the completion of the Van Gogh-Roosegaarde cycle path, the area of Brainport East will gain the impulse to develop as a country park.The partners involved in this have jointly invested €700,000 in this innovative cycle path. Half of this, a subsidy from the province of Noord-Brabant, forms part of a 19 million euro investment in the area that will function as the green heart of the region.www.studioroosegaarde.net
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106 ART & DESIGN
VENERATE VERSAILLESThe Palace of Versailles is one of the principle sights in French history and its style and elegance have long
inspired designers and landscape architects. The lighting in the Gardens of Versailles has recently undergone
a thorough renovation consituting the most significant alterations in 400 years.
The Gardens of Versailles are a UNESCO World Heritage Site, located amid the vast grounds of the Palace of Versailles outside Paris. The former home of the hedonistic Sun King, Louis XIV, the palace was the centre of absolutist royal power in the days before the French Revolution and the King’s court was renowned for its glamour and sophiticated nature.The Palace is also famed for its Hall of Mirrors, the location of the signing of the Treaty of Versailles, the document that began the recrafting of Europe in the wake of the First World War.The Gardens of Versailles were created in 1662 by André Le Nôtre, Louis XIV’s head gardener. The gardens have changed little since the 1600s, and cover 800 hectares of land, offer 8 km of walks, and incorporate 55 fountains, 14 groves, 476 sculptures and statues, 32 pools, and over 300,000 flowers.After a recent transformation the gardens have been brought alive with a string of
spectacular lighting effects.Château de Versailles Spectacles (CVS) commissioned the complete transformation of the Night Fountains Show,’ the fountain and light show held often in the gardens for visitors, including a renovation of the gardens’ lighting to take place over three years. The organisation is responsible for fountain shows, firework displays, theatre, operas and other events at the Gardens of Versailles.CVS appointed Les Eclairagistes Associates (LEA), the well-known French lighting design firm to artistically and technically enhance the gardens’ lighting, bringing its many stunning statues, sculptures and fountains to life like never before. Crystal, aleader in water feature technology, was also selected by CVS to provide lighting design advice and equipment to illuminate seven of the gardens main 400 year old fountains. In the 1600s, Louis XIV would organise the
stunning illumination of the gardens for his parties, lighting up the gardens’ fountains and surrounding imposing architecture with thousands of candles. By incorporating the new lighting design, Château de Versailles Spectacles objective is to create an atmosphere for today’s visitors that is similar to what they would have experienced at Louis XIV’s parties.The methods implemented by LEA and Crystal to enhance the lighting of the seven fountains are of particular interest. Traditionally the fountains’ water effects were lit up by external lighting beamed onto the fountains from elsewhere. Crystal has now provided its modern submersible RGBW LED lights to surround each of the fountain’s water jets. This significantly enhances the fountain’s sequenced water illuminations and the striking statues and sculptures that are part of the fountains.The advanced age of the fountains within
The Gardens of Versailles are equally as impressive as the Palace itself and a new lighting design by LEA only acts to add power to the outside space. Traditionally the fountain were lit by light beamed externally, but Crystal supplied submersible LEDs to surround each of the fountain’s water jets.
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the Gardens of Versailles created some challenges during the renovation process. The infrastructure surrounding the water jets and statues could not be altered due to their heritage, neither could the water features systems that create the effects, which are largely the same as they were 400 years ago. This led to LEA and Crystal designing, and making, custom stands for the new LED lighting to ‘sit on’ ensuring that the new fixtures did not interfere with the original components of the fountains or statues. The Crystal RGBW LED Lights are capable of switching between millions of different colours for eye catching effects. The fixtures enabled LEA to carefully design and choreograph unique colourful lighting routines, and tune colours to highlight statues, sculptures and the surrounding architecture. Perhaps the most notable water feature in the gardens is the Fountain of Apollo. Designed as a tribute to the Greek god, the
fountain depicts Apollo emerging from the sea at daybreak in his four-horse chariot to announce the rising sun, subtly honouring the Sun King in the process.The quality of the light sources used, and the precise photometric adjustments made by LEA ensure that the magnificent fountain sculptures can be easily viewed in all their glory, the lighting acting to emphasise their fine details while water effects create a magical sparkling aura around them.” David L’Heureux, Director of Business Development at Crystal commented: “The Gardens of Versailles are a global tourist attraction, and one of the most visited destinations in France, with over 6 million visitors every year. When one considers the stunning gardens, with the fountains and the beautiful Palace of Versailles in the background, it is easy to see why. “The artistic changes that LEA has made to the Gardens of Versailles’ lighting, with Crystal’s help on the fountains, are the most significant alterations the gardens have seen
since André Le Nôtre designed them in the 1600s. In addition to the gardens’ sculptures and fountains, the new lighting illuminates the whole western façade of the Palace of Versailles itself,” L’Heureux continued. The new lighting was designed and installed in time for the Gardens of Versailles’ first summer show on 21st June 2014. Shows ran on Saturdays every summer between June and September and will commence again in 2015.www.crystalfountains.comwww.leseclairagistesaccocies.com
Top left The Fountain of Apollo announcing the rising sun in tribute to louis XIV, new LED fixtures show up the fine detail of the statues. Top right The palace gardens host a string of events for the public throughout the year. Above The innovative new fountain lighting does not interfere with the orginal components.
108 ART & DESIGN / DARK SOURCE STORIES CREATED BY KEREM ASFUROGLU
darksourced.tumblr.com facebook.com/darksourced 109
The IALD held their first large-scale Enlighten Europe conference just a few weeks after the North American version to signal their intent of more activity on the European mainland.
ECLECTIC ELECTRIC
110 TECHNOLOGY / IALD ENLIGHTEN CONFERENCES
The International Association of Lighting Designers (IALD) hosted its 14th Enlighten Americas conference in San Diego, CA USA on 16-18 October 2014 and its first self-con-tained Enlighten Europe conference, which took place in Berlin, just a few weeks later coinciding with the 25th anniversary of the fall of the Berlin wall. 400 lighting design professionals from fifteen countries attend-ed the US conference whilst 300 attended the Europe version representing twenty countries. The inspiring and thought-provoking key-note speeches at both events set the tone for two days of lighting education in three tracks: Art, Science and Professional Tools. The educational component of Enlight-
en Americas opened with a keynote by renowned researcher Dr. Thomas D. Albright of the Salk Institute for Biological Studies. Dr. Albright is at the forefront of research in vision and neuroscience, and his talk provid-ed designers with the latest on how vision, perception and detection are impacted by all types of light.Architect and biomimicry expert Michael Pawlyn of London’s Exploration Architec-ture kicked off proceedings in Berlin with a fascinating talk, Designing With Nature, explored how lighting designers might be able to glean design solutions from nature’s creations.Session highlights of the US event includ-ed presentations from IALD Fellows Randy
Burkett, FIALD, of Randy Burkett Lighting Design, who presented Light and Human Be-haviour in the Night Time Environment with Nancy Clanton, IALD, of Clanton & Associ-ates; and IALD President Barbara Horton, FIALD, of Horton Lees Brogden, who pre-sented Illuminating a Glass Ceiling: Women in Lighting with Vasiliki Malakasi, IALD, of Ideas Design and Lisa Reed, Associate IALD, of Envision Lighting Design.Session highlights of the Europe event included presentations from IALD Fellows Barbara Horton, FIALD, of Horton Lees Brogden Lighting Design, who co-presented Designing the Perfect Hire with Kai Piippo; and Charles Stone, FIALD, who presented Powerful Light: The Coruscant and the
This page (clockwise from top left) Enlighten Americas: A tribute to Philip Gabriel who died earlier this year; Light Bureau’s Joe Vose took the ‘Light Hacking’ workshop for students; Thomas D. Albright, PhD, President of the Academy of Neuroscience for Architecture at the Salk Institute for Biological Studies gave the keynote speech; the President’s Reception was sponsored by Eaton’s Cooper Lighting.Opposite page (clockwise from top left) Enlighten Europe: Michael Pawlyn of Exploration Architecture gave the keynote speech in Berlin; Erik Olsson + Jöran Linder - Did You Give the World Some Love Today, Baby?; Charles Stone, FIALD - Powerful Light: The Coruscant and the Transformative; Paolo Portaluri of Lupercales, Chiara Carucci of LR-O and Thomas Schielke at the Graffiti Wall; Bill Schwarzbach presents at the CLOSING SESSION: Analog Psychedelia: A Heritage Lightshow; the popular Lighting Cross Talk session was held at both events.
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Transformative.The Science track featured a session from Kevan Shaw, IALD, on Fifty Shades of White, as well as a compelling talk from Dr. Karolina Zielinska-Dabkowska, IALD, on the Impact of Exterior Illumination of Tall Buildings and Bridges. The Art Track featured powerhouse inspirational presenta-tions from IALD members Amardeep Dugar, IALD; Andreas Schulz, IALD; Glenn Shrum, IALD; and Dr. Thanh van Tran, Associate IALD.The Lighting Cross Talk session was held at both conferences and allowed qualified lighting specifiers two full hours to meet with manufacturers. 23 manufacturers and a record number of lighting specifiers par-
ticipated in the session. Lighting Cross Talk is held in a round-table format to allow for fast-paced information gathering. Manufac-turers set up at separate tables in a large ballroom and have 20-25 minutes to speak to five or more specifiers at a time. Manu-facturers take this time to introduce new products, get feedback on existing products and discuss other specifier concerns.Both events were a great success but it was particularly pleasing to see such a good turnout in Berlin. IALD President Barbara Horton, FIALD, says, “IALD Enlighten Europe was one of the most invigorating things I’ve yet experienced as a volunteer for the IALD. The Board of Directors has worked hard to develop a globalisation strategy that cre-
ates meaningful events and environments for lighting designers all over the world, and Enlighten Europe was an astonishingly successful milestone for the organisation. The intimate conference was planned by Europeans, for Europeans, and you can see their influence in the diverse list of speak-ers and the wide range of topics.”www.iald.org
Enlighten Asia 2015 will be held 4-5 March 2015 at the Big Sight in Tokyo, Japan. Enlighten Americas 2015 will be held 8-10 October 2015 at the Hilton Baltimore in Baltimore, MD USA.
Philips Value Added Partner Citeos, together with lighting design practice Neo Light, ensures light brings life to the ancient Chateau Chaumont sur Loire and gardens.
IN THE NIGHT GARDEN
112 TECHNOLOGY / CASE STUDY
Situated in mid-West France is the UNES-CO World Heritage site of the Loire valley. The climate and agriculture is kind to this gentle, slow moving river. Nestled on a limestone cliff overlooking the valley is the historic Chateau Chaumont and its award winning gardens. The chateau was originally built in the 10th Century as a castle to defend the surround-ing land. However, since the 15th Century, it has been the home of a succession of Dukes and aristocrats and in 1938, it was donated to the French state. The chateau is now a museum and since 1992, it has hosted an international garden festival. In 2007, Chantal Colleu-Dumond was appointed Director and took overall responsibility for the running of the garden festival, chateau and the ‘Arts and Nature’ cultural centre.
From the beginning she wanted to introduce lighting into the gardens. “Landscaping gardens is an art form in itself,” says Col-leu-Dumond. “Light adds magic and mystery to a garden.” Unlike a building, gardens grow, evolve and change over time; even a breeze can change the appearance. “We have some visitors who come purely to see the gardens at night.” Thus began a collaboration between Philips, their Value Added Partner Citeos and the independent lighting consultancy Neo Light who are based in the nearby city of Tours. Neo Light produced a concept for lighting the gardens. The most important aspect was that the lighting equipment and all the cabling should be invisible by and night. “Citeos understood straight away what was required,” said Sylvain Bigot, the lighting designer at Neo Light. “They have a very
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good understanding of the Philips technolo-gy and how it can be applied.” Citeos could only work when the gardens were empty and they were careful to minimise distur-bance to the pathways and plants. “They (Citeos) were very respectful of the gardens and plants,” said Colleu-Dumond, “and treated them with great delicacy.” Since lighting the gardens, tourist numbers have increased from 150,000 per year to almost 400,000. As a result, it was decided to light the exterior of the chateau. The project was open to public tender and both Neo Light and Citeos were successful. “The challenge here was to achieve a balance be-tween the garden and the chateau. There is a strong contrast between the pale stone of the walls and the dark roof,” said Sylvain. For one month of the year, the inside of the chateau is illuminated with 2,500 candles.
“We decided to make the external appear-ance slowly change between a warm and cool light similar to a flickering candle.” Citeos was responsible for all the program-ming and installation. It was often not possible to position the floodlights where the designer wanted them and so Citeos used their in-depth knowledge of the Philips Color Kinetics equipment to relocate and aim them to Neo Light’s desired effect. As an example, one floodlight location was on a route used by garden vehicles and it had to be moved 20m – 30m away. Citeos also managed to camouflage the floodlights so that they are invisible by day. In conclusion, Colleu-Dumond says there has been a perfect marriage between the lighting concept, the lit effect and the installation. www.philips.com/citeos
The lighting concept created by Sylvain Bigot of lighting design practice Neo Light uses Philips Color Kinetics luminaires to reveal new aspects of the gardens and the chateau and extraordinary, mysterious ambiences through their colours.
The origins of the St Mary and Bartholomew Church in Harsefeld, Germany, date back to the first millennium. Previously refurbished in the 1960s, the interior of the neo-Gothic building was now to be modernised, including a comprehensive interior refurbishment under energy efficient and aesthetic aspects.The development of a new lighting concept for the listed building with its stately cross vault presented a particular challenge. The lighting solution demanded a subtle design and needed to be integrated with minimal changes to the structure of the church. In addition to superb
CHURCH BELLESERCO’s distributor, lucente, has created a scheme that delivers light and shadow in this spectacular church in Harsefeld, Germany.
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visual comfort, the lighting also needed to meet the requirements of a contemplative atmosphere.German lighting distributors, lucente, was responsible for the lighting design developing a solution that delivers a harmonious synergy of historic structure and modern LED lighting technology. Customised luminaire rings frame the space-defining pillars of the nave discreetly at a height of around eight metres. True to ERCO’s principle of ‘light, not luminaires’, the lighting tools were integrated to be as unobtrusive as possible. The highly efficient
LED luminaires were aligned to illuminate and precisely accentuate the interior both directly and indirectly. Quintessence LED downlights ensure good visual comfort, and finally, Optec LED spotlights illuminate the cross vault effectively and specifically accentuate individual architectural elements such as the church organ, itself one of the most striking features in the room. A wireless DALI lighting control system, managed via a tablet, provides easy and flexible adjustment for various lighting requirements.www.erco.com
Pics: Frieder Blickle, Hamburg
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CAGED BEAUTYRock Vault 2014 showcased some of the hottest new jewellery trends expected to grace the world of accessories in 2015. Creative production company Blonstein worked to bring the designs to life.
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The latest edition of Rock Vault, organised by the British Fashion Council, was held in September at Somerset House, London, with creative production company Blonstein taking charge of design.Precision Lighting’s Pico Zoom LED mini-spotlights were used to showcase the work of new British jewellery talent at the event, which were presented on plinths and crowned by classic, domed birdcages as part of London Fashion Week spring / summer 2015.
Commenting, Blonstein’s Brian Jones said: “When we were developing the creative for the Rock Vault showcase at London Fashion Week we were thinking about lighting from the very beginning. We really wanted to avoid the glass box on a stand aesthetic that is the easy solution for a temporary exhibition but the birdcage idea was only going to work if the jewellery looked perfect.”Each cage was lit from within, with three surface-mounted Pico Zoom spotlights.
Jeweller Emma Madden of Shimmell and Madden described the effect as “brilliantly bright, beautiful lighting, perfect for jewellery display.”“The room is naturally bright and the designers use a wide range of materials, some of which need a lot of light to ‘pop’ from the display,” said Jones. “A chance to work with the team at Precision Lighting meant we could use the very high power-to-size ratio of its Pico range without compromising the display with lots of
ugly fittings. The zoom function in such a small package is a real innovation.”Pico Zoom, designed by Precision Lighting’s Peter McLelland weighs just 60g and features focussing and locking features usually only found on much bigger fixtures. A combination of adjustable optics and exceptionally smooth movement makes it possible to position and focus the discreet spotlights with pinpoint accuracy. The zoom optic can be adjusted to give light beam widths between 12° and 30°, while the fixture’s rotation and tilt mechanisms provide a smooth, constant movement for superior adjustability, and like all Precision Lighting luminaires Pico can be locked in pan and tilt so that it stays focussed.In order to control the contrast between lighting inside the cages and the surrounding
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room, Blonstien added lighting from carefully directed Director DR2 spotlights designed by Precision Lighting’s sister company Remote Controlled Lighting, which has developed a range of spotlights that can be adjusted using laser hand controls or through its iDirect app. This is often done to create flexible lighting without the effort and risks involved in using ladders, scaffolding or lifts. However, as Jones explained, at Rock Vault: “Another issue with the space at Somerset House is that the display galleries are Grade I-listed and so there is no opportunity to run cables across the floor. Our design solution was to run attractive retro cables up into the lighting rig but this meant that ladder access to focus track spots was very problematic once the display was installed. Being able to use the
remote controlled lighting units to solve this was a joy.”The Pico range has also been used by jewellers Mappin and Webb and illuminated the precious Cheapside Hoard at the Museum of London. Pico is also suited to other applications such as lighting art, however its tool-less adjustable beam technology makes it particularly suited to use within display cabinets, either surface-mounted or as the Pico S1 Zoom which is mounted to a 360mm stem.Concluding, Jones said: ‘”All the designers and our clients at the British Fashion Council, commented on how great the lighting was this season and we look forward to any opportunity to collaborate with Precision Lighting in the future.”www.precisionlighting.co.uk
The King Abdul Aziz Flyover Bridge forms part of a new road interchange in the heart of Riyadh, Saudi Arabia. Constructed by Buro Happold, the bridge is elegantly modern, its soaring steel arch seamlessly blending with the forward looking architectural style of the city.Lighting design practice Licht Raum Stadt became involved in the project at the behest of the landscape architects Bödeker Partners who wanted the bridge to have an outstanding lighting design that stood apart from the street lighting. Licht Raum Stadt at the outset of the project, aimed to create a design that emphasised the architecture of the bridge itself, while also giving due consideration to the elegant curvature of the Flyover. An eye catching lighting scheme was required, one that would encourage the bridge to be considered a city landmark by those that used it. With this aim in mind, dynamic ideas were considered, for example, a dot-structure along the suspension cables, an idea that was later realised.The lighting of the bridge mirrors each day of the week and features animated graphic elements such as ‘breathing’ and ‘pulsing’ sequences in different colours related to each
FLY BY NIGHT Huda Lighting used Traxon fixtures to create a lighting design for the King Abdul Aziz Flyover Bridge in Riyadh, transforming the structure into a landmark that blends with the increasingly high-rise city.
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new day. More dynamic colour sequences can be seen at the weekend and there are also sequences to celebrate national events and to mark interludes given over to prayer. A SCADA-control network has been used to create these scenes.Huda Lighting was contracted by the client Arriyadh Development Authority to implement the design, who in turn partnered with Traxon Technologies for the required fittings and control system. The outcome matched the design intent to the satisfaction of all parties.The lighting installation has been realised using all LED fixtures. For the arch, linear high power LED-fixtures with a distribution of 10° x 40° and warm-white LEDs were used and placed on the top and bottom of the steel arch to prevent glare and direct the visibility of the fixtures. The side-line of the bridge uses slim linear mid-power LED-Lines with a diffuse cover to make the fixtures visible as a self-illuminated line tracing the flyover. Traxon Liner Shield AC XB was used to illuminate the main arch and Traxon Dot XL-9 RGBs were installed on the steel cables and have been used to provide colourful and dynamic animations that bring the bridge to
life at night. The sides of the jersey barriers have been illuminated with the Traxon Monochrome Tube, a low profile LED fixture with a soft diffused output that creates continuous lines of light following the contours of the bridge.These fixtures were coupled with a control system that was preset with astronomical linked, dynamic scenes designed around Islamic evening prayer times and other festive events. An e:cue Lighting Control Engine and Butlers were also permanently installed at the base of the arch in a purpose built space. For the dynamic dot-structure, RGB-Dot-Strings with nine full colour SMD-LEDs behind a diffuse dome-cover have been used. These dots are controlled by a DMX network, fed by a lighting control server. A n1 e:cue LCS Control Server has also been used as well as a twelve pcs. ecue butler Ethernet-DMX-Interfaces.The aim of the project was to make the bridge readily recognisable after sunset, something that has been successfully achieved. The graceful nature of the bridge’s outline has been cleverly highlighted by a stylish and innovative lighting scheme. www.hudalighting.com
www.lec-lyon.com
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Chromatic waves in Metz, France95 especial crowns with DMXLighting designer: Atelier Lumière
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Home to Michelangelo’s famous ‘Giudizio Universale’, the Sistine Chapel in Rome is one of the most famous museums in the world, attracting 4.5 million visitors per year; 25,000 on average per day, in fact.In a push for an EU wide take-up of LED technology, the Sistine Chapel recently received an upgrade to its lighting - made possible through European Commission pilot project LED4Art. Having identified the main
ART REVIVALAs part of the European Commisson’s plight for an increase in energy-efficient lighting being used across the EU, the Sistine Chapel was the recent recipient of an LED lighting upgrade.
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barrier for achieving higher market penetration of LED technology related to high initial costs and lack of user acceptance, flagship actions have been initiated by the EC. Supported by the European Funding Program for Information and Communication Technology within the Framework Program for Competitiveness and Innovation (PSP-CIP), the aim of the subsidiary program, which involves six partners from five countries, is to demonstrate new possibilities
for LED technology with regard to energy efficiency and improved quality of light, and therefore achieve a more rapid penetration for the new technology.Professor Antonio Paolucci, Director of the Vatican Museums commented: “The Sistine Chapel contains the most extraordinary works ever conceived by the human mind and is Michelangelo’s masterpiece. We want to honour the 450th anniversary of Michelangelo’s death by providing new lighting for his work.”This extraordinary piece of art history is now being experienced by visitors in unprecedented quality - bathing in the light of more than 7,000 Osram LEDs. The aim of the Sistine Chapel LED installation is to achieve a much stronger light, save energy and reduce the Chapel’s carbon footprint, all while protecting the art works. The realised Osram lighting concept included LED luminaires on the cornice, along with uniform ceiling and wall washing which softly fades out above the visitor’s head.Neelie Kroes, Vice President of the EC and responsible for the Digital Agenda for Europe, commented: “Art exists to inspire us all and illuminate our minds. Now that we have illuminated the Sistine Chapel with LED, Michelangelo’s art can fulfil this role even more than it has throughout history so far.”The main brief for the new lighting set-up, was that visitors should have the impression the light is natural daylight coming in through the windows. The new Osram LED lighting had to provide a uniform distribution of light on the internal surfaces while following the architecture, so that the light doesn’t come out of any visible fixtures.Since the Osram LEDs have been implemented the visible effects at the museum have been clear, with better colour perception due to an increase in luminance; 3D effects of Michelangelo’s art are now fully visible, and the artwork also seems to be magnified and much more visible, while unsightly lighting fixtures are a thing of the past.Dr Klaus Patzak, Osram’s CFO and also responsible for the Luminaires & Solutions segment, concluded with: “Osram has developed an LED lighting solution that sets standards in terms of technological strength, quality and innovation. It’s the first such solution in the world and paves the way for completely new possibilities for our clients.”www.osram.com
Copyright: Governatorato dello Stato della Città del Vaticano - Direzione dei Musei
The 'COzwo and Co' exhibition, opened in August 2013, focuses on the subject of climate protection and is organised by the Saarland Ministry of Economics, Employment, Energy and Transport. Held at the Schaumbergturm Tower in Tholey, Germany, the exhibition is designed to run until 2018 and covers 140m² across two storeys of the Tower. The exhibition is divided into topics covering climate crisis, new forms of energy, climate-friendly transport, healthy nutrition, ecological agriculture and forestry and is aimed at all age groups from school children to tourists.The lighting design specification for the exhibition - put together by Tobias Link and Peter Michely - was to develop lighting that
CLIMATE CONSCIOUSRaising awareness around climate protection is becoming increasingly important. Through the use of Insta LED lighting the 'COzwo and Co' exhibition at Schaumbergturm Tower is paving the way further.
sets the scene for the different exhibits, with each of them assigned a specific colour that can be designed dynamically at the touch of a button. Special Insta luminaires equipped with LEDLux LX RGB planes are used to scatter matching light into the rooms as soon as the visitor enters each of the spaces.Due to the low ceiling height specified by the construction there was limited amount of space for the light installations and so for the general lighting, Link and Michely selected Insta's Instalight 3018 with 2.5W LED luminaire featuring a low installation depth of 22mm. The lights create homogeneous illumination with warm white light of 3,000K and a current consumption of 3.4W/m² - an energy-saving
value, which meets the requirements of 'COzwo and Co'. The development of the light concept and control produced multiple modules for the exhibition - in the ‘Water Lounge’, the blue light mimics the movements of waves, while a translucent material serves as a room divider and projection area, visible from two sides. In another area of the exhibition a peephole makes the visible invisible to the observer - using blue and red images, which are illuminated with blue or red light - for this, LEDLux LX RGB lines were used. And finally, the concave cinema in the exhibition offers films which can be recalled via an iPad.www.insta.de
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The National Day is a major event in the Saudi national calendar. It involves all the major members of the royal family and many other civic dignitaries. When tasked with creating a light show for the celebrations at the Ritz Carlton Hotel A&O Technology summoned its best creative minds in order to be equal to the task.A complex multimedia show was put together in a very tight time frame of just four weeks. The Saudi royal family, represented at the event by the Governor of Riyadh, Prince Turki bin Abdullah bin Abdul Aziz wanted a show that would represent the creative talents of the nation.In order to respect this request A&O Creative created an artistic concept for the show that was based around the patriotic feelings surrounding the 82nd anniversary of the
PUTTIN’ ON THE RITZA&O Technology staged a multimedia show for the Saudi National Day in Riyadh at the palatial Ritz-Carlton Hotel culminating in a specular fireworks display.
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formation of the Kingdom of Saudi Arabia. At the same time, an extensive 3D mapping show was planned for the hotel.The show’s creative director was the renowned lighting designer Jerry P. Appelt, who took charge of both the show concept and the lighting design. The entire front façade of the hotel complex was used as a projection surface making the building an oversized movie screen.The past, present and future of Saudi Arabia and its capital Riyadh were depicted in images and video sequences accompanied by gripping music. Lights visible for miles around and an impressive firework display crowned the show, which drew an enthusiastic reception from the cream of Saudi society.Aside from its creative contribution, A&O
Technology supplied all of the lighting, video and laser equipment, while the fireworks were provided by the pyro specialists Fireworks by Grucci. “We worked hand-in-hand with Grucci to ensure the various elements of the show were perfectly coordinated,” said Marco Niedermeier, CEO of A&O Technology.“After collaborating with them on projects for National Day in Doha and the 2013/14 New Year’s Eve celebrations at the Hotel Atlantis The Palm in Dubai, National Day in Riyadh was yet another joint project for the portfolio,” he concluded.A&O will no doubt be on hand to provide the celebrations for the 83rd anniversary of the kingdom’s founding next year, matching the fervor and enthusiasm generated this year.www.ao-technology.com
HISTORY REINVENTEDMadrid's Casino Gran Via has been reinvented with the help of energy-saving light solutions installed by Disenolamp, using Tridonic products and advised by architect Julio Touz of Comar.
The historic building of Casino Gran Vía in Madrid, Spain, has been given a new lease of life by Comar architect Julio Touz. Part of the refurbishment is an energy-saving lighting solution installed by Diseñolamp, that makes use of a central lighting control system, LED modules and converters from Austrian manufacturer Tridonic.The palatial building was completed in 1924, originally as the prestige headquarters of the Madrid Chamber of Commerce and Industry. Following extensive renovation work, a casino, various bars and an elegant restaurant now make use of the luxurious surroundings and
state-of-the-art lighting. Anyone walking into the building on the busy Gran Vía passes through a gateway of light (pictured top right) designed by Steelman Partners Europe and created using Tridonic TALEXX Engine Stark QLE LED modules. A further 1,000 LED modules are used to provide decorative lighting for the fronts of the counters in the reception and bar area, while Tridonic LCAI ECO TALEXX converters offer atmospheric dimming.LCI TALEXX converters control the functional LED ceiling lighting in the public areas, while PCA ballasts are used for the fluorescent lamps
in the staff rooms helping to save energy in combination with motion sensors.Floor space in the building is leased to restaurant operators and so Comar attached great importance to transparent electricity costs when designing the system. With this in mind, an evaluation function has been built into the Tridonic winDIM@net lighting control system, enabling each tenant to be billed for the precise amount of energy used.The Casino Gran Via is the fifth Spanish casino Comar Group has equipped with Tridonic's electronic lighting control systems.www.tridonic.com
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PATHWAY TO PARADISEMont Saint-Michel in Normandy remains a popular tourist spot and now, thanks to work by architect Dietmar Feichtinger, using LEC lighting, an illuminated footbridge leads visitors down the right path.
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Mont Saint-Michel in Normandy, France, has always been a popular tourist destination, attracting almost three million visitors each year. With its roots dating back as far as the 4th Century, Mont Saint-Michel has naturally been in need of restoration over the years. More recently the main goal has been to create an in-depth and long-lasting rehabilitation of its maritime landscape, while renewing the appeal to tourists.Supported by the French Government and local authorities in Normandy and Brittany, a ten-year-long restoration period of the entire site began back in 2005. With all elements due to complete next year, there have been various stages to the rehabilitation process - in 2009 a dam that generates flushes depending on tides began to dredge the immediate areas around the Saint-Michel. Then, in 2012 parking lots were moved onto the mainland and 24/7 public transport was set up. Most recently, in July this year, a new footbridge connecting pedestrians and cyclists from the mainland to the Mont Saint-Michel opened. Designed and realised by architect Dietmar Feichtinger, the footbridge has been up-lit using tailor-made LED light bars designed by LEC of France.In designing the new footbridge, Feichtinger wanted, above all else, to avoid disturbing the majestic feel of the historic site and so,
the footbridge is solidly fixed on 134 stilts, extending over 760 metres, and is in total harmony with the environment, using wooden decks for the footbridge floor, as pictured above. The footpath has been separated into two, which works to secure the footbridge while keeping the pedestrians separate from the shuttles. It also allows for resting points should visitors want to take their time and appreciate the spectacular scenery.Commenting on his vision, Feichtinger said: “The desired effect was to mark the pathway to the Mont while keeping the attention on it. The pier slowly and gradually goes towards the Mont Saint-Michel – its up-lighting highlights this very delicate approach. The goal here was to avoid encroaching the beauty of the place with discreet and elegant lighting. It also needed to safely mark-light the pathway to the Mont. We wanted a luminous line, that was continuous and homogenous but that would blend into the horizon.”The lighting brief for the footbridge was to produce fully integrated lighting that is discreet and resistant to extreme weather conditions. The discreet up lighting of the footbridge uses a total of 296 LEC 5620-Brunei LED light bars, each measuring 1.45m and tailor-made to suit. The lighting bars include an organic glass pane that is resistant to extreme
weather conditions; an IP 68 rating and shock resistant up to 60 Joules. As well as a very long LED lifetime and low energy consumption, the fixtures have been integrated underneath the separation panel, diffusing consistent and homogenous light over a length of 430 metres. To avoid encroaching on Mont Saint-Michel’s own lighting, the LEC light bars are directed downwards so that they up-light the footpath only. The lighting intensity can also be dimmed anytime from the central pilot in the Saint-Michel upstream. The embedding cases for the lights are used as cable protectors and have allowed for a neat installation that is perfectly integrated into the footbridge.“LEC was selected following a public tender,” said Feichtinger. “We’d already had the opportunity to work together, in particular the up-lighting of the Passerelle de la Paix in Lyon. LEC’s solution fully met with our specifications, in particular because of the LED fixture's small size, it was ideal for discreet implementation. The visual result is superb, is continuous and fluid all the way. LED light bars are also energy and cost-efficient as they are known for the long-lasting diodes.“Our collaboration with LEC’s team went really well and we appreciated their flexibility and bespoke solution.”www.lec-lyon.com
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THE YEAR THE LED LANDSCAPE CHANGED FOREVER
As two giants of the electronics industry look to bow out of the global LED sales market, our resident technology expert Dr Geoff Archenhold looks back at a year of shock announcements and well deserved recognition.
What a difference a year makes to the lighting industry! Who would have guessed that two of the biggest lighting players would have sig-nalled their intention to exit the Solid-State Lighting systems arena. I am talking about the news that Philips is to exit LED manufactur-ing after announcing it was going to sell Philips Lumileds and then Samsung announced it will withdraw from global LED lighting sales.I predicted, in a presentation for the Lighting Industry Federation (LIF) five years ago, that Philips would be out of the lighting market within the next decade and of course there were roars of laughter at the time from the packed audience. However, that moment of madness has been realised by the shock announcement that Philips is divesting all of its lighting assets and not just LED manufacturing. What I didn’t predict five years ago was the withdrawal of Samsung from the LED lighting market (but not LED manufacturing) and this is perhaps a bigger surprise than the Philips announcement.Of course lighting has always innovated and changed, whether it was with the development of fluorescent lamps, HID lamps and more recently LEDs, but the announcement by Philips stating that it was looking to split off the lighting division into a completely sepa-rate entity will have a much bigger effect than just on the company itself. Europe has been a very difficult marketplace for global com-panies to penetrate due to the two powerhouses of Philips and Os-ram. However, becoming individual entities in their own right makes them much more vulnerable to market forces providing an ideal opportunity for competitors to take a foothold within the market over the next decade. My view is that perhaps Philips Lighting may
survive and thrive much like Acuity Brands did when it was divested in a similar manner. However, they are a predominantly US-based business with much more flexible labour laws, whereas Philips’ and, to a certain degree Osram’s, senior management team are restrict-ed by trade unions and European labour laws that resist the vital re-structuring that is most likely needed to transform Europe’s lighting leaders into vehicles that can compete on a global stage. Global businesses (>USD 5 billion turnover) that bring scale, pro-duction and marketing experience will only be good for consumers. However, the long term effects on keeping Europe at the forefront of lighting technology will be significantly diminished as R&D bud-gets and staffing will generally fall and diffuse into much smaller (and possibly more innovative and agile) companies.There will be many reasons why the Philips and Samsung CEO’s and key shareholders will have decided to spin-off or shut-down their lighting divisions including poor group financial results, low growth, high competition, margin erosion and high overheads. However, the key overriding factor for change has been the transition to new technologies such as LED lighting and OLEDs. When rapid industry change occurs the larger companies cannot evolve quickly enough to the new environment, a bit like the dinosaurs that failed to adapt to a different climate and as such became extinct.In the meantime however, the pace of technology change in LEDs and OLEDs is accelerating faster and faster and we are only just beginning to enter the intelligent lighting phase of growth.
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CREE • Demonstrate the first 200 lm/W LED concept luminaire, which is more than twice the efficiency of the best linear fluorescent luminaires. Cree’s latest innovation delivered a 3,200 lumen concept luminaire with greater than 200 lm/W at 80 CRI at thermal equilibrium while remaining within the ANSI colour specification for 3000K. The innovations behind the concept luminaire will enable Cree to deliver increased performance in LED luminaire applications at a lower cost to accelerate LED adoption.• Launch the ZR Series LED fixture that delivers a new category of performance, affordability and inspired design. Featuring Cree TrueWhite Technology, the ZR Series LED trof-fer delivers superior colour quality (> 90 CRI) in an ultra-slim, sleek package at a remarkable initial price of $99. The ZR Series LED fixture cuts energy consumption in half, and with standard 0–10V dimming, can accelerate its already rapid two-year payback.• Launch the 6000 lumen LMH2 LED module, the industry’s brightest module to offer colour-quality greater than 90 CRI at
a consistent efficacy of 85 lumens per watt across a wide range of colour temperatures (3000K,
3500K and 4000K). The no-compromise LED solution is the ideal replacement for 100W
ceramic metal halide lamps in high-ceil-ing applications, using 30 percent less
power, lasting three times as long and delivering instant-on, dimmable
light. Lighting manufacturers look-ing to shorten the time-to-market for their luminaire design can also
take advantage of the LMD600, Cree’s cost-effective, uni-versal driver that is designed to power the new 6000 lumen LHM2. Dimmable to one percent, the LmD600 is optimised for a controllable, indoor architectural environment.
OSRAM• Announce it is expanding its capacity for InGaAlP LEDs by switching its fabrication of red, orange and yellow light emit-ting diodes to 6-inch wafers which will expand production ca-pabilities at its manufacturing plant in Regensburg, Germany. Such coloured LEDs are generally used within the Automotive and Architectural lighting application areas and larger wafers enable lower costs and higher production volumes.
SHARP • Introduce the new generation of Mega ZENIGATA COB LED with high-efficiency XFC models in the 15, 25, 35 and 50 wattage classes. The devices are available in CCT values of 2700K, 3000K, 4000K and 5000K and with CRI options of 80+ and high CRI 90+ for the 25W series. The XFC series is based
upon a ceramic substrate to enable a low thermal resistance of 1.8 C/W typically. The
COB is made with 84 LED die configured as 12 in series and 7 parallel chains to provide a
35.5V dc typical forward volt-age and up to 1000mA forward
current.
PHILIPS • Launch a brand new range of Xitanium mini drivers, specif-ically designed for CoB track spot luminaires. The Xitanium 36W/m 0.3-1.05A 48V 230V and Xitanium 20W/m 0.15-0.5A 48V 230V miniaturised housing make these the smallest LED drivers with window functionality, matching the housing of the HID CDM drivers used for this application. Two products were launched to cover the 1100-2000 lm and 2000-3000 lm CoB track spots.
LUMINUS • Launch the XNOVA Chip-On-Board (COB) LED arrays in mass production, and are immediately recognised for their leading efficacy with 145 lumens per watt at 5000K and 132 lm/W at 3000K both at 80 CRI. The 95 CRI minimum ‘Accuwhite’ series catches the industry’s attention and the fact that all of the XNOVA COBs are specified and tested in production at 85C to ensure consistent, high performance in real-world application conditions. The XNOVA COB LED portfolio offers a wide range of devices with Light Emitting Surface (LES) from 6mm to 27mm. Products are currently available with 80, 90 or 95 min-imum CRI and colour temperatures of 2700K, 3000K, 3500K, 4000K, 5000K and 6500K.
CREE• Update the XLamp CXA2590, CXA1850 and CXA1310 High-Density LED Arrays by doubling the light output of exist-ing standard-density CXA LED arrays without increasing the size, redefining what is possible for LED lighting in high-inten-sity applications. By emitting more than 15,500 lumens from a 19mm light source, the CXA2590 LED Array enables luminaires with the same centre-beam candlepower (CBCP) and light quality of a 150 watt CMH light source at lower power, longer lifetime and with better control. Delivering more than 9,000 lumens from a 12mm light source, the CXA1850 LED Array enables lighting solutions with the same CBCP and light qual-ity as 70 watt CMH while using half the power. The CXA1310 LED Array provides more than 2,000 lumens in a 6mm light source, which allows lighting manufacturers to design smaller, more-efficient track lights, reduce the size of halogen re-placements by half and deliver twice the CBCP of CMH at 30 percent less power.
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PHILIPS • Launch the CertaFlux LED Line 2ft 1550 lm/2200 lm, a new proposition targeting volume OEMs that are active in the wholesale trade segment and looking for good specifications, which meet the requirements of basic lighting. It offers the lowest initial costs for product performance, meeting most market applications with an efficiency level at 95 lm/W.• For Outdoor lighting applications
Philips launch the new range of Xitanium programmable drivers, Xitanium 75W and 150W 0.70A Prog+ 230V-F sXt, available with both full
and lite programmable options. The specification includes a larger op-
erating window with output current up to 1A, lower minimum output voltage, an increased Tcase,
improved EMI performance and integrated surge protection up to 4Kv. The drivers offer new features such as LineSwitch, SoftStart and Power Factor correction.
HAVELLS SYLVANIA • Launch the state-of-the-art Optimo LED spotlight designed to deliver the optimum in creativity and efficacy. Optimo perfectly complements high street and pop-up shop interiors right through to hospitality applications and supermarkets. Delivering 2719 lumens at 36W the Optimo provides an effica-cy of 75 lm/W at 3000K and 80 CRI.
SERENITY LIGHTING• Launch the first DynaWhite Quadrum LED fixture that is fully colour tuneable between CCT values of 2700K and 5700K whilst maintaining a minimum CRI of 80+ across the CCT range. The Quadrum LED fixture is a 600mm x 600mm, flicker free, backlit LED panel offering 3500 lumens and efficacies of 100 lumens per watt enabling offices, schools and healthcare applications to replace T5 or T8 based fixtures and to allow healthy, circadian type biodynamic lighting in a cost effective manner. The first installations of the DynaWhite Quadrum panels took place in a PFI project with the NHS to deliver healthy and sympathetic light to patients.
CREE • The Cree LED Bulb becomes the best-selling LED lamp in America after just twelve months, enabling more than $1 bil-lion in lifetime energy savings for consumers. To further drive adoption and expand the market, Cree also introduce the first 100-watt replacement LED lamp delivering 1600 lumens while consuming just 18 watts and is available in soft white (2700K) and cool, daylight (5000K) colour temperatures. • Introduces the XLamp XB-H LED, the brightest discrete in Cree’s high-density (HD) class of LEDs, delivering a break-through combination of lumen output and efficacy in a small package. The XB-H LED brings the lighting-class performance of the XP-G2 LED into a package that is 50 percent smaller. Delivering more than 500 lumens at 1.5A, 25C in a 2.45 x 2.45mm package, the Cree XB-H LED can enable luminaires that use the same-size-footprint XB-D LED to triple their light output at the same efficacy.
XICATO • Launch the XTM module that covers a new design for the company’s Corrected Cold Phosphor Technology that was being produced on the new manufacturing line in San Jose. The Zhaga compatible product delivers 100 lumens per watt or more at operating temperature. A lower cost and higher efficacy product that retains all of Xicato’s quality of light at-tributes fundamentally shifted perception of the company and XTM has quickly become the company’s best-selling module.
OSRAM• Offer, for the first time, a chip-on-board LED, the Soleriq P 9, which is suitable for compact powerful spotlights such as the ones used in retail outlets and museums. The P 9 has a light emitting surface with a diameter of only 9 mm (64 mm²) with a package dimension of 15mm x 15mm but produces an impressive 2000 lm and has a luminous efficacy of 100 lm/W (at a temperature of 85C and 3000K). The LEDs are available in both 80+ and 90+ CRI and a CCT range between 2700K to 5000K. The small light-emitting surface means that extremely
compact and therefore lightweight optics can be fitted for highly compact spotlights. The
spotlights are therefore less cumber-some and more cost-effective,
while still providing the same luminous intensity.
MARCH
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APRILHAVELLS SYLVANIA• Through its Concord brand expands its award-winning Bea-con range by adding the state-of-the-art Beacon Major mains voltage LED spotlight to its family. The new spotlight offers an impressive fixture lumen output of up to 1551lm and, by running directly from the mains, does not require a separate LED driver to operate. This innovation saves on installation time and cost compared to halogen or metal halide.
XICATO • Launch their integrated control LED module, XIM (Xicato Intelligent Module). The XIM unit integrates communications, controls, sensors, software and a light source into one com-pact light engine. Xicato claims that by bringing the critical electronics together, it makes the system more reliable, eas-ier to integrate and provides a foundation for exploring new business models based on lighting.
Shrinking Corrected Cold Phosphor Technology into a signifi-cantly smaller footprint, XIM retains all the benefits of the patented phosphor cooling technology and quality of light and created space into which chips and electronics have been incorporated. With virtually the same footprint as the first generation XSM, the new XIM comes in slightly taller than the previous modules.The XIM module will solve a great deal of the anxiety that fix-ture manufacturers have had over the years with sub-standard LED drivers, dimming issues and controller complexities and I believe that these issues have certainly caused a great deal of frustration for everyone. Integrating the control system, sensors and a DC to DC driver into the light source certainly has many advantages and two notable ones are increased flexibility and choice of constant voltage ballasts.By including a DC/DC drive circuit into the XIM module it means a standard low cost constant voltage supply can be used allowing a wide variety of ballast manufacturers to be chosen so gone are the days of trying to find a DALI ballast manufacturer with exactly the right format of power, connec-tors or approvals.The XIM module also offers a low level of dimming down to 0.1% by using a combination of analogue and pulsed dimming which is becoming much more common place in PSU designs.
LUMINUS • Announce the XNOVA Sensus COB array series with CCT ranges targeted below the black body locus (BBL) to deliver a pure, crisp white, as well as rich, vivid colours. Recent studies have shown that the human perception of pure white is actually below the BBL for colour temperatures in the warm white range (3500K to 2700K). The XNOVA Sensus COB series is engineered in 2-step or 3-step McAdam ellipse colour accuracy. In addition, they are tested at 85C, where they deliver an industry leading 120 lumens/watt typical and 80 CRI minimum. Light emitting diameters are available in seven sizes from 6.3mm to 22mm, thus enabling customers to achieve a typical flux output anywhere from 470 lumens to over 7500 lumens.
OSRAM • Officially announce the opening of its LED assembly plant in Wuxi, China. The factory has a floor area of about 100,000 square metres and will employ as many as 2,100 people by 2017. Osram is investing a low three-digit-million euro amount to set up the plant and the Wuxi plant will be capable of an annual output of up to several billion LEDs.• Launch the Duris S 5 mid-power LEDs with a CRI of more than 90 for a variety of applications. The new LEDs are ideal for applications where the colours have to appear as natural as possible and their main use will be in the home. The light from the new Duris S 5 models make the colours of wooden dining tables and flooring for example look rich and natural which plays an important role in shop lighting, whether for clothing or food.The new Duris S 5 also offers impressive output. The two-chip version has a high luminous flux value of 83 lm at 150mA (typ-ically at 3000K) with a typical forward voltage is 6.35V.
PHILIPS • Introduce the new FastFlex LED board 2x4/740 Generation 2, designed to be used in Outdoor luminaires. This includes a new range of lumen output, additional 2x4 smaller size modules and two new light distributions (cir-cular symmetric and extra wide) to offer luminaire manufacturers maximum choice and flexibility.
CREE • Launch the XLamp XP-L LED, the first commercially avail-able single-die LED to achieve breakthrough efficacy of up to 200 lumens per watt at 350mA. Delivering up to 1226 lumens in a 3.45mm x 3.45mm package, the game-changing Cree XLamp XP-L LED enables an immediate performance increase of 50 percent or more as a drop-in upgrade for lighting designs based on Cree’s market-leading XLamp XP-G LEDs. As the brightest member of the industry’s only family of high-density class discrete LEDs, the new XP-L LED also touts the industry’s highest optical control factor (OCF), a mea-surement of the impact that LED size and performance have on directional lighting applications. Characterised and binned at 1050mA, 85C, the XP-L LED is available in up to 90 CRI and colour temperatures ranging from 2700K to 8300K.
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132 TECHNOLOGY / END OF YEAR REVIEW
LED ENGIN• Unveil Generation 3.0 of its award-winning LuxiTune. With a 2200 lumen emitter, equivalent to a 120W halogen lamp, the light engine delivers smooth halogen-style dimming from 1600K to 3000K and CCT tuning between 2100K and 4300K. Both tuning curves track the black body curve closely and light intensity (flux) is adjustable from 100% to less than 0.5%, giving lighting designers unprecedented creative freedom. With the complementary secondary optic, luminous efficacy is an industry-leading 63 lumens/W at steady-state tempera-ture and CRI is 90 at full intensity, being maintained at an average of 85 as the LED is dimmed.The light engine is DALI and DMX compatible, and delivers
flicker-free operation with industry-standard analog 0-10V dimmers. Self-learning mode eliminates known issues in in-stallations with multiple lamps on one dimmer due to varying voltage drops on long and short cables. DMX control can be used to switch between CCT tune and halogen dim modes. LuxiTune uses a compact, single emitter to deliver warm, soft tones of dimmed light. It maintains colour quality and con-sistency within 3 SDCM throughout the dimming range. The multi-channel emitter platform results in more vibrant colours without some of the hue changes experienced with simpler two-colour systems. Smart feedback control ensures flux and colour stability over the life of the product and eliminates the known effects of varying light output over temperature and time from different colour dies. Furthermore, there are no perceptible flickering effects in the 100Hz to 200Hz range.
LUMENPULSE• Acquire Projection Lighting, a UK based manufacturer of LED solutions. The purchase allows the Canadian luminaire manufacturer to break into the retail and display markets.The agreement provides for a total cash consideration of £16.6 million, including working capital of £2.9 million, sub-ject to customary post-closing adjustments. During the twelve month period ended April 30, 2014, Projection generated revenues of £11.3 million. As a result of the deal approximate-ly 50 new employees join Lumenpulse.
JUNEVERBATIM • Announce the expansion of its LED range with a family of easy-to-install luminaires for applications spanning hotels and restaurants to offices, retail stores and warehouses. The luminaires have improved thermal management and have a higher lumen output compared to when the lamps and fix-tures are separate elements. Verbatim’s recessed spotlights, with a choice of 25° or 40° beam angle and an adjustable LED head, are perfectly suited to delivering accent and spot lighting to replace halogen downlights. They are 12W and dimmable and deliver up to 720lm output with a lumi-nous intensity of up to 3150cd. Customers can choose between either a white or chrome finish. • Introduce LED T8 tubes, par-ticularly suited for car parking, leisure complexes and warehous-es. The tubes come with 22W (1200mm) and 28W (1500mm) pow-er outputs, each with a 120° beam angle, and are available in warm (3000K), neutral (4000K) or cold (6500K) white. The luminous flux ranges from 1900 lm to 2600 lm. In addition, there are two 1200mm kit solutions for indoor (IP20) and outdoor (IP65) batten lumi-naires including an LED T8 4000K tube.
PHILIPS• Introduce the 4th Generation of Fortimo LED SLM by bring-ing the complete SLM product portfolio on to one single CoB technology platform. The family for retail and food applications consists of 4 families: Fortimo LED SLM Gen4; Fortimo LED SLM Gen4 Crisp White; Fortimo LED SLM Gen4 Food Warm White; Fortimo LED SLM Gen4 Food Premium RedEach family offers an improved efficiency up to 130 lm/W with the flexibility to select different lumen outputs per module. One of the flagship products in this range is the Fortimo LED SLM Crisp White, which produces intense whites and rich colours, perfect for fashion retail applications and is available in two lumen pack-ages (3000 lm and 3800 lm). • Philips Lumileds launch its proprietary CrispWhite Technol-ogy that allows whites to appear more vivid and bright while colours appear saturated. The CrispWhite Technology has great colour rendering performance with CRI over 90 and an R9 value above 50 giving rich red and warm colours ideal for retail lighting applications. The technology creates a second blue peak (~410-415nm) in the spectrum that activates fluorescent whitening agents paints/fabrics and is very similar to that used within the Soraa MR16 lamps. The LUXEON Chip-on-Board (CoB) Crisp-White Technology is available in multiple lumen packages, from 800 lumens all the way up to 7000 lumens to replace 70W and 100W CDM solutions. The lumen efficacy is up to 90 lm/W and is hot binned at 85C to achieve a 3-Step MacAdam Ellipse, ideal for CDM-CMH lamp replacement.
JULY
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134 TECHNOLOGY / END OF YEAR REVIEW
LED ENGIN • Announce four new families of Dual Junction infrared (IR) emitters, including the world’s first 4-die versions. The 4-die LZ4 parts are currently the world’s most powerful IR emitters, delivering six times the flux density of conventional emitters to extend the range and resolution of surveillance and secu-rity systems by this factor. Single-die types deliver 70% more output than typical single junction IR emitters. In both prod-uct families each die has two serially-connected junctions, creating two radiant surfaces and boosting output. A contin-uous 5A pulse drive capability means that they can produce a short output burst for even greater range. The emitters are designed for IR systems operating at up to 150m.The products address a number of fast-growing markets such as surveillance, transportation and machine vision, and newer businesses in biometrics and gesture recognition, are all look-ing for ways to differentiate their products through improved performance, smaller size and lower energy consumption.
LUMINUS • Announce a five year limited warranty for the XNOVA family of chip-on-board (COB) arrays designed for both indoor and outdoor directional lighting applications. The company in-troduces this warranty on the heels of completing their 6000 hour LM-80 testing which demonstrated long term colour stability and robust lumen maintenance, even under extreme conditions including both high temperature and high drive current.
OSRAM • Launch the SFH 4715A OSLON Black IR LED with high typical electro-optical efficiency of 48% thanks to the latest chip generation and the optimised LED packaging. Thanks to a boost in output to 800mW (previously 630mW) the new Os-ram IR LED can illuminate objects over 100m away depend-ing on the application and type of external optics.
AUGUSTLG CHEM • Announce they will start to ship 100 lm/W OLED panels with 40,000 hours lifetime. One advantage that OLED lighting has over LED architectural light-ing design is its ability to offer high efficacy linear lighting solutions as well as replacing traditional 600mm x 600mm panel lights efficiently. OLEDs emit heat differently to LEDs and therefore can be made in thin form factors without the need for light guides or heatsinks which will ultimately save on production costs in the future. In general OLED fixtures are 1/10th the thickness of LED panels and the weight 1/5th which is unique from a design perspec-tive. Current roadmaps show that OLED lighting will drop sig-nificantly over the next six years from USD200 per 1000 lumens to less than USD10 per 1000 lumens which offers an exciting proposition for certain lighting fixtures and designers.
iDRIVE • Launch a new class of high power LED driver solutions with the Force 12 that offers up to 320W of power in a satellite configuration allowing up to 12 LED outputs per driver to be independently controlled. The Force 12 unit can be easily positioned by mounting on walls or ceilings and offers flicker free, deep dimming characteristics for LED fixtures that require 3-48V and 100mA to 1000mA forward currents. Users of the Force 12 do not have to make a compromise on what dimming control protocols can be used for a project as it offers DALI, DSI, DMX, RDM and Eth-ernet connectivity as standard. The Force 12 can be positioned right next to the LED fixtures or remotely up to 100m from the fixtures and therefore has created a new class of satellite drivers.
CREE • Announce the ZR High-Efficacy (HE) LED fixture to reduce energy consumption by 70 percent when compared to tradi-tional fluorescent fixtures, enabling greater design freedom for customers. Cree’s vertical integration and LED lighting system development expertise has brought a commercially available
150 lumens per watt LED panel fixture to market. The ZRHE LED panel fixture features Cree TrueWhite
Technology and delivers 4000 lumens of the industry’s best colour quality in both 2’ x 2’ and
2’ x 4’ configurations. With a 100,000-hour lifetime—twice as long as comparable LED
troffers—and an industry-leading, 10-year limited warranty, the Cree ZRHE LED
panel is the ideal replacement for healthcare, petroleum, commercial
building and other applications demanding extreme reliability and long product lifetime.
SEPTEMBER
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CREE • Achieve another fundamental breakthrough in lighting-class LED performance with the ground-breaking SC5 Technology Platform, which powers the next generation of lighting with the introduction of Extreme High Power (XHP) LEDs. This new class of LEDs can reduce system costs by up to 40 percent in most lighting applications. The SC5 Technology Platform is built on Cree’s industry-best silicon carbide technology and features significant ad-vancements in epitaxial structure, chip architecture and an advanced light conversion system optimized for best thermal and optical performance. With these advancements, the SC5 Technology Platform achieves unparalleled lumen density and longer lifetime at higher operating temperatures than previ-ous LED technology, which can significantly reduce thermal, mechanical and optical costs at the system level.The first available family of XHP LEDs is the XLamp XHP50 LED, delivering up to 2250 lumens at 19 watts from a 5mm x 5mm package. At its maximum current, the XHP50 provides twice the light output of the industry’s brightest single-die LED, the XLamp XM-L2 LED, at a similar lumens per watt and without increasing the package footprint. By leveraging Cree’s latest reliability innovations, the XHP50 is designed to maintain L90 lifetimes above 50,000 hours even at high temperature and current.
HAVELLS SYLVANIA • Upgrade their Beacon family by introducing the impressive Beacon XL, a spotlight with the power to provide up to 3000 fixture lumens at only 40W. Available in black and white versions to complement the rest of the Beacon range, the Beacon XL can replace existing 35W CMI-T (HID) luminaires to provide significant energy savings. With a CRI figure of up to 97 the Beacon XL offers retail and display environments a high-powered LED luminaire with great colour rendering.
SORAA • One of its founders, Dr. Shuji Nakamura, is awarded the 2014 Nobel Prize in Physics along with Professors Isamu Akasaki and Hiroshi Amano. Recognising that Nakamura’s invention, the blue light emitting diode, represents a critical advancement in LED lighting, the Nobel committee explained that the innovation “has enabled bright and energy-saving white light sources.”The Institute also noted that when the professors “produced bright blue light beams from their semi-conduc-tors in the early 1990s, they triggered a funda-mental transformation of lighting technology.”In the citation the Institute concludes that, “incandescent light bulbs lit the 20th century; the 21st cen-tury will be lit by LED lamps.”
OCTOBER
SHARP • Announce a new line of LEDs with a single emitting surface that produces warmer light when dimmed. The new Natural Toning LEDs vary their colour temperatures across a range from 3000K to 2000K that requires no additional controls beyond a dimmer. The Natural Toning LEDs provide very high colour quality, with typical CRIs ranging between 92 and 94 across their intensity range. At an operating current of 350mA, the Natural Toning Mini ZENIGATA delivers up to 1000 lumens with a colour temperature of 3000K. When dimmed down to 50mA, the Mini puts out 105 lumens at 2000K. Its big brother, the Nat-ural Toning Mega ZENIGATA, typically produces values ranging from a high of 2860 lumens at 950mA and 3000K down to 155 lumens at 2000K.
• Also launch an important new portfolio of LED modules dubbed INTERMO. This latest addition to Sharp’s range of LED products includes two easy-to-integrate module packages. The latest additions come in two module sizes, standard and slim. 50mm in diameter and 6mm high, the Standard INTERMO is a Zhaga Book 3 form-factor module, which ensures compatibility with a large eco-system of third-party products. The somewhat smaller Slim module, which is 44mm in diameter and 3.6mm high, has a nicely compact form factor, which is ideal for lumi-naire designs where space is at a premium.
136 TECHNOLOGY / END OF YEAR REVIEW
VERBATIM• Launch a professional range of class-leading PAR16 LED retrofit lamps with a GU10 base delivering up to 660 lumen output – almost twice as bright as a standard 50W halogen spot lamp. Using technology developed by Verbatim’s parent company Mitsubishi Chemical Corporation (MCC), the lamps achieve increased heat dissipation through advanced thermal cooling using a sophisticated heatsink design. Verbatim’s GU10 LED range uses single focus diamond cut optics that allow light to be dispersed in a defined manner, avoiding glare and hotspots associated with many compet-ing products. With a 35° beam angle, the lamps focus light where it’s needed with minimal spill. The PAR16’s compact body (50mm diameter, 56mm height) ensures easy fitting and alignment into fixtures. A family of four 6W and four 8.5W PAR16 GU10 spotlights offer various lumen and colour temperature options, all at very high efficacy levels. Delivering between 400lm and 660lm of
brightness, the LED lamps produce a luminous intensity from 1000cd to 1340cd at colour temperatures ranging from
2700K to 4000K. While the majority of the lamps offer dimming control at an attractive price, a
couple of of the lamps are competitively priced alternatives for professional applications where a non-dimmable op-tion is better suited without sacrificing reliability and long lifetime.
OSRAM • Develop Green LEDs with an extremely high efficacy and a reduced drop in efficacy. The breakthrough greatly diminishes what is known as the ‘green gap’ phenomenon – the signifi-cant drop in efficacy in the green spectral range. The result is a green-emitting LED based on a chip size of 1sqmm and a driving current of 350mA using indium gallium nitride (InGaN) semiconductors which achieves a record efficacy of 147 lm/W at a wavelength of 530 nanometers (nm) and a spec-tral width of 35nm. The LED has a forward voltage of 2.93V at 350mA and shows significantly improved performance at higher current densities by achieving 338 lumens at 125A/cm2 current density. In addition, another green LED developed by combining a blue chip with a phosphor converter has achieved a record-breaking efficacy exceeding 200 lm/W. Having a high efficient Green LED enables improved colour rendering and efficiency for colour tuneable LED fixtures moving forward.• Launch the new Osram Soleriq P 13 that achieves a bright-ness level of up to 6800 lumens, making it the most powerful LED in its series. Together with its small light-emitting surface measuring just 13.5mm in diameter, the P 13 offers a highly compact and powerful light source for multiple indoor lighting applications. The P 13 is available in two versions with differ-ent colour rendering indexes (CRI): The CRI 80 LED delivers a brightness of 4000 lm even at high temperatures (85C, 1050mA) and can be overdriven to deliver up to 6800 lm. This high brightness is achieved with a small light-emitting surface (LES) only 13.5mm in diameter. The whole package measures 18mm x 18mm x 1.5mm.
NOVEMBER
WHAT’S NEXT FOR 2015?SOME PREDICTIONS...
CORNING • Announce a co-marketing agreement with Osram Opto Semiconductors to promote Corning Fibrance Light-Diffusing Fibre, a first-of-its-kind technology that embeds lighting into products. Fibrance fibre uses Corning’s glass optical fibre de-signed for thin, colourful, aesthetic lighting and Osram’s blue and green laser diodes to create endless design possibilities. Fibrance fibre is optimised for a variety of applications such as automotive interior, architecture, consumer electronics, major appliances and many more.The flexibility and tight-bend capability of the fibre allows it to curve, wrap, or contour around objects – while main-taining bright and uniform light. The fibre is so small and thin it is nearly invisible when the light source is off, thereby enhancing a product’s overall aesthetics and user experience.
Fibrance fibres disperse light, rather than transferring it, allowing it to emit vibrant, clear colours up to 50 metres in product length.
PAUL SCHEIDT, PRODUCT MARKETING MANAGER, CREE, LED COMPONENTS: Next year will see increasing demand for solutions that produce higher light output, higher optical density and better heat dissipation with fewer LED placements resulting in system cost reductions that can inspire new designs at attractive prices. One of the biggest innovations in LED is light conversion – getting more light out of an LED at higher operating temperatures. With high-power LEDs, manufactur-ers are no longer forced to use lower reliability mid-power LEDs to achieve the lowest system cost, while operating at higher temperatures, enabling up to a 60 percent reduction in heat sink costs. Also, because high-power LEDs on average use 80 percent fewer LEDs, enabling a smaller board size, beam angle and optic, lighting designers can more quickly create simpler, easier-to-design and aesthetically appealing LED systems.
DR. DECAI SUN, CHAIRMAN AND CEO, LUMINUS: Industry consolidation, more competition and capex in-vestment in additional capacity of LED chip manufacturing. Furthermore, cost reduction of LED packaging will drive cost down of LED components at accelerated pace, which will in-crease adoption and penetration of LED lamps in commercial and residential markets; More innovative smart lighting products with sensing, control and communication functions will appear in commercial and residential lighting.
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CONCLUSIONSDR LEWIS LERMAN, TOP QUARK, QUARKSTAR PHOTONICS:LEDs continue to increase in source luminance while their physical dimensions shrink. Their efficacy and costs advance ahead of projections, leading to the barrier of entry into SSL solutions falling faster than anticipated. Now, everyone and anyone can seemingly play by the simple expedient of phys-ically substituting LED light engines into containers designed for the ionized gas and tungsten filament lighting engines of the past. However, this “fast and furious” rush to market has resulted in a flood of unrefined and undifferentiated products that is now finding difficulty in penetrating markets past the early-adopters. One reason is that, by simply substituting LED light engines for incumbent ones, there is little change in the overall luminaire’s physical dimension (and hence, manufacturing and carbon footprints remain the same as well). Thus, while the initial cost of solid-state lighting has been declining, it continues to be much too high for enthusiastic widespread adoption. 2015 will herald two major events in the landscape for light-ing and lighting products: initial cost equivalency for SSL and the emergence of the next level of differentiation.Combining extraordinarily clever optics and the control of lights in space with conventional time-based electronic controls will enable all the ‘essential qualities’ desired by users, and these new forms of lighting systems will emerge as the new differentiators in our illuminated environment. With the introduction of its first technology to the marketplace, QuarkStar’s pioneering team of scientists and engineers, looks forward to 2015 as the beginning of their own catalytic contributions to this exciting change.
MENKO DE ROOS, CEO, XICATO:2015 will see the continued march of LED technology toward full acceptance and broad implementation. Lighting fixture OEMs appear to have reached the point where they sell more LED fixtures than incumbent technologies, and this trend continues to grow.In 2014 there was significant increased discussion of smart lighting, building integration and controls – Xicato contrib-uted significantly to this discussion. It seems clear that both market demand and legislative activity will continue to focus on getting the high-value controls functions right, and that means dimming and dimming control as no other single function adds as much to increasing the efficiency of lighting throughout the installed base. I expect that in 2015, dimming, control and connectivity will dominate the discussion and I look for four things to happen:1. The lighting design community will drive the industry to-ward a set of standards for acceptable dimming2. System costs for quality dimming will decrease3. Research on flicker and how to address it in LED solutions will increase4. Wireless connectivity between lighting fixtures themselves and to users will become more common, bringing additional value via interaction and data.The first white LED was presented in 1995, a mere 20 years ago. In 2015 we will recognise the full acceptance of LED technology as a primary light source. We can no longer call LED the light source of the future or new technology. It’s now firmly a member of the conventional lighting portfolio.
2014 has demonstrated rapid cost down in all parts of the supply chain for LED lighting whether they are LED emitters, light engines, LED drivers or complete fixtures. Such rapid cost downs will continue in 2015 resulting in rapid consolidation of estab-lished companies and a higher degree of business failures for those companies that cannot differentiate from competitors or their own technologies.The larger players will decide how to react to market dynam-ics and, as we have seen with companies such as Philips, major changes could be announced in 2015 with more mergers and acquisitions.The rate of technology improvements will begin to slow from 2015 to 2018 as higher lumens per watt figures will become less desirable compared to quality of light and cost metrics.
SO HOW DID MY PREDICTIONS FOR 2014 PAN OUT?• The commercial availability of 200 lm/W LED emitters will be available by the end of 2014. ACHIEVED• Low cost tuneable white LED fixtures will become widely available that offer end users the ability to set colour tempera-tures dynamically with a price difference of less than 25% more than static white equivalents. PARTLY ACHIEVED BUT CLOSE TO 40% MORE THAN STATIC WHITE• The rise of DC Grid and centralised LED driver solutions will begin to be seen due to increased reliability, ease of installation and lower overall system costs. ACHIEVED WITH PRODUCTS LIKE XICATO’S XIM MODULES• The rise of Ethernet connected LED fixtures and the use of mobile applications will become common place for end-users. Thus, 2014 will see the start of the combined LED fixture and control system to help introduce smart lighting to commercial lighting. NOT ACHIEVED• Wireless connectivity will become popular in certain applica-tions however reliability and security aspects will mean end-us-ers patients will be tested. PARTLY ACHIEVED BUT NOWHERE NEAR ADOPTED AS EXPECTED
MY PREDICTIONS FOR 2015:• Ethernet based products will become common place through the use of WI-FI and wired Ethernet driver solutions.• Security of smart lighting systems will become a high agenda item as more systems become compromised by bad actors.• At least two major lighting companies will change hands in the range of > £250m turnover.• Healthy lighting technologies such as colour tuneable and flick-er free LED drivers will become a higher priority for users and specifiers.• The major lighting companies will sell more LED products than traditional products for the first time.
Geoff Archenhold is an active investor in LED driver and fixture manufacturers and a lighting energy consultant.
The views expressed in this article are those of the author and do not necessarily represent the views of mondo*arc.
138 TECHNOLOGY / BENCH TEST
Aiming to turn the world of LED lighting on its head with its GaN on GaN technology, Soraa introduced its range of AR111 lamps earlier this year. David Morgan takes a look at the benefits of the range and how they truly compare to that of a halogen lamp.
PUSHING BOUNDARIES
The general view at the outset of the solid state lighting revolution in the early 2000’s was that only dedicated LED luminaires could provide the full reliability, light quality and efficiency possibilities inherent in LED technology. Retrofit LED lamps that could be used with existing luminaires were considered to be suitable only for low-end applications where short life and light quality were not important.Soraa has turned this idea on its head over the past couple of years by incorporating its proprietary Gallium Nitride on Gallium Nitride (GaN on GaN ) technology into a range of retrofit lamps where the light quality and lit appearance is so close to halogen that in many situations it is hard to tell the difference.Soraa was formed in 2007 by a team of pioneering professors from the worlds of engineering and semiconductors - Nobel Prize winner Dr Shuji Nakamura, inventor of the blue laser and LED; Dr Steven DenBaars, founder of Nitres; and Dr James Speck of U.C. Santa Barbara’s College of Engineering. They came together with funding from Vinod Khosla to develop and commercialise GaN on GaN technology for LED lighting.
It is understood that the nearly flawless crystal structure of Soraa’s GaN on GaN LED allows it to operate at currents that are more than five times higher than LEDs built on non-GaN substrates such as sapphire or silicon carbide. As a result, Soraa’s LED emits five times more light from a given LED area than any other LED. The advantage of the smaller light-emitting surface area is, when used in conjunction with an advanced prismatic lens narrow beam angles down to nine degrees can be achieved. Using a single emitter also results in a single sharp shadow that is very similar to halogen.The GaN on GaN structure also results in a higher overall efficiency that Soraa employs to produce light in the purple area of the light spectrum rather than blue used by most other LED manufacturers. The purple light is used in conjunction with a tri phosphor coating to produce white light in a continuous spectrum with a deep red R9 >90. The spectrum follows the black body curve more closely than blue-based LEDs and without the potential for the circadian rhythm disturbance that blue light can induce.Unlike blue LEDs - whose emission starts at
430nm - Soraa’s spectral emission begins at 400nm, which provides fluorescent excitation needed to discriminate clearly between shades of white giving much more natural looking whites. The initial Soraa product range, introduced over the last two years, was based on an MR16 size lens and heat sink and a GU5.3 pin base for use with a 12V power supply, as well as a GU10 base version for use direct from 230V AC.In addition to the ground-breaking advances in LED emitter design, Soraa also developed an ingenious magnetically connected SNAP range of beam shape, glare control and colour temperature control accessories. This is a simple design idea that transforms a retrofit MR16 lamp into a lighting designer’s adaptable tool kit.Earlier this year, Soraa launched its new AR111 range at Euroshop. This lamp incorporates all the advantages of the MR 16 sized lamps outlined above but with much greater light output. The AR111 range is available in 4 beam angles, 9º, 25º, 36º and 60º with colour temperatures from 2,700K up to 5,000K. The AR111 is rated at 18.5W and gives an output of up to 1,200 lumens
139
for the Brilliant 80 CRI version and up to 1,050 lumens for the Vivid 95 CRI version. The lamp life is rated at 35,000 hours.These lamps provide over 30,000 Candelas for the nine degree 3,000K Brilliant and over 24,000 Candelas for the nine degree 3,000 K Vivid. According to Soraa these peak intensities are twice as high as other LED AR111 lamps.To complete the range Soraa has developed a larger size set of the magnetic SNAP control accessories for use with the nine degree versions of their AR111 lamps.I tested the nine degree Soraa AR111 Vivid lamp against an eight degree halogen lamp and the light appearance and quality of the Soraa lamp was remarkably similar to that from the halogen lamp, although the beam angle was noticeably wider and the edge of the central beam, was a bit sharper. The SNAP accessories all connected strongly to the lamp using the central magnet. The honeycomb louvre controlled glare effectively and gives the lamp a high tech appearance.The Soraa AR111 heat sinks do run at quite a high temperature in free air which, for a conventional retrofit LED lamp, would cause
me concern particularly if the lamp was going to be used in an enclosed luminaire or in a high ambient situation. However, according to the Soraa literature, the lamp has been designed to run at elevated temperatures so I assume the lamp will perform for the full 35,000 hour life without colour shift problems or reduced efficiency.At the moment the Soraa AR111 lamps are only available as constant voltage lamps with integral drivers, to be run at 12V AC or DC. One of the issues often mentioned by lighting designers and users about Soraa lamps is dimming. In order to get good dimming with the integral driver CV Soraa lamps the right combination of power supplies and trailing edge dimmers need to be used. Soraa now publishes a list of the recommended combinations of power supply and dimmer that will dim down to a low level. Attempting to use Soraa lamps with halogen transformers and dimmers is likely to cause problems.For applications where 1 - 10V or DALI dimming is required the UK-based company Trulux has recently launched a range of dimming drivers that will dim 12V CV Soraa
lamps down to 1% with these dimming inputs.It would appear that Soraa has changed the rules of the LED game and that very good lighting results can now be achieved using retrofit lamps in existing luminaires if adequate air flow and volume are available. Soraa has also hedged its bets on how the market will develop in the future and will introduce a series of light engines based on its technology early next year for incorporation into dedicated luminaires. This opens up some exciting luminaire design opportunities and we have already started work on a number of developments to incorporate these light engines.www.soraa.com
David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. [email protected]
© David Morgan Associates 2014
111mm
111mm111mm
(4.27″)
57mm(2.24″)
base temperature measured here
o
LitePadRosco
Available in configurations offering high CRI (90+) output, variable colour temperature control and RGB colour mixing, LitePad is customisable in size, shape and light output and features a slim, lightweight, durable profile. The HO90 is a 8mm thin, flat panel LED providing even, indirect lighting. The CCT is a tunable white, flat panel LED, providing even, indirect lighting - suited to virtually any backlighting installation or projects where a cool, low profile light source is required.www.rosco.com
140 TECHNOLOGY / ANNUAL PRODUCT GUIDE
CIRCOFormaManufactured using highly automated machinery and tooling, the injection molded self-extinguishing polycarbon-ate body holds the built-in driver for LED light source and a tool-less snap-in-catch injection molded vandal resistant polycarbonate semi-transparent white satin diffuser, providing excellent op-tical characteristics. Available in three sizes, recessed or surface (up to IP66) and pendant (up to IP44), trim or trim-less, in a range of colour temperatures with dimmable and emergency versions available upon request. www.formalighting.com
ProSpex LED70LucentA range of miniature downlights avail-able as either trimmed or trimless, fixed or accent, the ProSpex LED70 Ambiance WarmDim is a dimmable LED module that warms up the colour of light as it dims, in a similar fashion to conventional tungsten lamps. Available in 3,000K- 2,200K and 2,700K - 2,200K versions, it maintains 80>CRI through-out the dimming curve and uses stan-dard 1,000mA dimmable drivers of any dimming protocol.www.lucent-lighting.com
AR111Ledon
Featuring a luminous flux of 780 lumens and a power consumption of 13W its flicker-free warm white light, featuring a colour temperature of 2,700K boasts a colour-rendering index of 95 Ra. In addition to its photometric parameters, it features an optical reflector lens designed to look like a conventional halogen reflector. Uniform and well-bal-anced light distribution at a perfect beam angle of 40º is ensured.www.ledon-lamp.com
LOOKING BACK
MJT3030Seoul Semiconductor
Utilising Seoul Seminconductor’s Acrich MJY (Multi-Junction chip technology), the MJT3030 can be operated in either AC or DC modes, depending on the con-figuration, while its inherent flexibility enables optimised performance in both AC and DC configurations. The MJT3030 enables lighting manufacturers to cre-ate new innovative solutions to address a wide range of lighting applications.www.seoulsemicon.com
We take a look back at some of our favourite new products from 2014.
LIGHT SOURCES Factorlux Eco-Filament
Urban Cottage IndustriesA low-energy alternative to a conven-tional filament bulb, the E27 screw lamp is a direct replacement lasting over five times longer and consumo-mg just one eighth of the energy. The bulb produces a very warm white light (2,300K) and exceeds all applicable UK & EU standards for safety and eco-de-sign. Bulb life is 25,000 hours or over 11 years, at six hours per day. Bulbs retain 80% of original brightness and fewer than 1% fail before 25,000 hours.www.urbancottageindustries.com
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CONNECTED LIGHT
Ingenium BluMegaman
Ingenium Blu is a new series of LED lamps that use Bluetooth technology to connect and control lighting in homes and commercial spaces. Smart lighting with instant and easy set-up is provid-ed along with the following benefits: power, dimming, timer, grouping, and scene setting.www.ingenium.cc
XIMXicato
XIM incorporates a 48V input dc-to-dc driver, a DALI dimming interface, thermal sensors, as well as a remote phosphor LED light engine. The form factor is slightly different from previous Xicato XLM modules and the efficiency for these new modules is claimed to be over 100 lumens per watt. Integrating a dimmable LV driver into the Xicato module makes the development of new luminaires easier and faster and poten-tially expands their market.www.xicato.com
AONEAuroraAurora is providing individually, controlla-ble luminaires with its patented, wireless AONE control module designed to integrate with a wide range of third-party lighting control and smart home systems. It provides in-line, two-way communication directly to each light source, received over wireless protocols and PLC (Power Line Com-munication) from the module to hybrid IC technology inside the latest range of Aurora luminaires. AONE control modules are capable of bi-directional communication providing real-time feedback and historical data on the luminaire’s activity.www.auroralighting.com
LifxHavells SylvaniaWhether it is to add a splash of colour to create moods or scenes in a room, or be it to find the right white light to meet user’s needs, LIFX offers users an astonishing 16 million colours at their fingertips and allows a variety of different scenes to be set to suit moods and tasks. Using a free App in iOS and Android versions, users can control the colour, brightness and dimming levels of their LIFX lamps as well as create scenes. The new Music Visualiser en-ables the lights to interact with music being played.www.havells-sylvania.com
Connected LightingPhilipsThis groundbreaking system uses Power-over-Ethernet (PoE) to connect office lighting fixtures to a building’s IT network. The lighting system acts as an information pathway, enabling workers to control and access other building services via their smartphones, allowing them to enjoy greater visual comfort and productivity. The office lighting fixtures, when outfitted with sensors, are able to capture anonymous data on room occupancy, temperature and humidity. They connect to the IT network and interface with other build-ing systems such as heating, ventilation and IT services. www.philips.co.uk
LightifyOsramLightify enables users to exploit a wide range of lighting possibilities using an app on a smartphone or tablet. Lightify simply integrates into existing WLAN networks, and users are able to set a wide diversity of light atmospheres. Lightify enables living rooms and work-rooms as well as balconies and gardens to be bathed in a wide variety of light atmospheres using a smartphone or tablet. The scenes can be freely config-ured and also controlled while on the move.www.osram.co.uk
142 TECHNOLOGY / ANNUAL PRODUCT GUIDE
SPOTLIGHTS & DOWNLIGHTSLuxerLuxintecLuxer is an LED modular system repre-senting high quality in lighting with up to 130,000 hours of life and is available with up to four adjustable modules achieving up to 216W. Other options includes surface or suspend mount-ing, different light colours, optical apertures or IP degree. It incorporates the patented optical system Xquare Optics with a range of optical distri-butions (spot, square, rectangular), offering great performance in lighting, excellent uniformity, maximum light utilisation factor, low glare, and visual comfort.www.luxintec.com
EDDIMIicrolightsA new mini spot, combining optical design and optimised passive cooling to create a compact fitting with a pow-erful output. It features the Hot Spot within a TIR (total internal reflection), LEDChronic lens and interchangeable lenses that don’t require a tool. A small head enables it to get into track and recess-mounted one, two and three-way fittings. It is available in 1,000, 2,000 or 3,000 luminaire lumen packages, it is L70 at 50,000 hours with a five-year warranty.www.microlights.com
MoodspotTDE - Lighttech
The Moodspot is designed to dynami-cally alter the emotional experience of a space. Its glare free beam allows colour temperate control, ranging from a white (4000K) to a very warm white (1400K). Due to the specially developed and integrated LED driver, the Mood-spot dims fluently down to 0%. Multiple beam angles and body versions ensure a versatile and extremely option-rich luminaire, which is well suited for a wide range of applications. www.tde-lighttech.nl
SkimErcoWith a light output ratio of up to 0.83, Skim’s compact lens system is notable for its high efficiency. The special ge-ometry ensures excellent glare control for a low UGR value providing ergonom-ic lighting even for workstations. Its shallow recess depth provides excel-lent light quality in areas with limited installation space.www.erco.com
NuovoLUG
Nuovo LED is an innovative spotlight for commercial space lighting. It offers a CRI of over 80. The luminaire is distin-guished by a broad range of luminous flux combinations (2,700-4,300 lm), beam angles (22˚, 30˚ or 42˚) and co-lour temperatures (3,000K or 4,000K). Nuovo was nominated to the finals of Good Design 2013.www.luglightfactory.com
Pride SeriesLamp 83Lamp 83’s latest product, Pride Series has been designed to perform at the highest performance levels. Working well for the long term, the product offers 4900 lm output with mini-mum energy consumption featuring 3000-4000K,12-18-25-30-44W dimma-ble and minimum 50,000 hours life. The product also offers four different beam angles, adjustability and eleven different body colour options. There are also seven different body versions such as spot, fixed recessed and single, dual and triple adjustable recessed fixtures.www.lamp83.com.tr
143
Install from BelowKurt Versen
The three-inch square Install From Below (IFB) LED product family provides the aesthetic appeal of an architectural grade lighting fixture to an existing ceiling, or where installation from below is required. The optical system provides glare and brightness control for each downlight and directional beam distribution and wall wash. Initial lumen packages include 1,100lm, 1,500lm, 2,100lm, 3,000K, and 83 CRI as standard – 2,700K, 3,500K and 4,000K are also available. Vibrant series avail-able in 3,000K only.www.kurtversen.com
LD10238LightgraphixLD10238 is a powerful, surface mount-ed adjustable spotlight producing up to 600lm. Utilising a Cree MKR LED with a single optic produces a very consis-tent beam with no multiple shadows.Low glare is achieved with a cowl, and recessing the LED and lens assembly deep within the body. Lockable tilt and swivel adjustment guarantees the fit-tings stay in the set position. A range of powdercoat finishes are available along with 10º, 30˚, 50˚ and 15˚x30˚ optics.www.lightgraphix.co.uk
Beacon MajorConcord
Offering an impressive fixture lumen output of up to 1,551lm this spotlight doesn’t require a separate LED driver to operate, saving on installation time and cost when compared to halogen or metal halide solutions. Without the hindrance of an external drive, it has a direct connection to mains voltage and 50,000 hours of life. The fixture can replace existing mains halogen fittings and reduces the compatibility risk of retrofitting LEDs.www.havells-sylvania.com
AledaHacel
The new, sophisticated Aleda adjust-able downlighter from Hacel combines a smooth and precise pan and tilt adjustment with a dynamic design. Featuring Tridonic single point LED modules and converters, the Aleda offers outstanding colour rendering properties, a life expectancy in excess of 60,000 hours (L70) and colour stabili-ty within three MacAdams. Including efficacies in excess of 82 lm/W, the Aleda is a distinguished product, with a medium beam reflector supplied as standard; optional narrow and wide beams are also available.www.hacel.co.uk
LED Cylinder LuminairesLuciferSuited to interior and IP64 wet loca-tions, LED Cylinder luminaires offer sleek and contemporary design and are surface-mountable in three sizes. A self-locking hinge allows manual hot-aim adjustment up to 45° tilt and 361° swivel rotation, with suspended models available. Installation to a standard junction box is accommodat-ed by a twist-and-lock mounting plate and lumen packages are available up to 2850lm (33W), with 25°, 40° and 60° beam angles. Invisible, integrated 0-10 or ELV, the driver is housed inside the canopy.www.luciferlighting.com
LVXMike Stoane Lighting
The LVX features on board manual dim as well as down the line dimming. The new LVX-i looks subtly different from past products. MSL, Xicato and Eutrac have been working together to launch this ground-breaking new combination, a 48V data track from Eutrac and a new intelligent module from Xicato with endless technical capabilities, all delivered in the Mike Stoane Lighting type X body.www.mikestoanelighting.com
144 TECHNOLOGY / ANNUAL PRODUCT GUIDE
Open LED luminaires from Peerless uti-lise constructive occlusion to produce soft, comfortable illumination from a lens-free linear form. Available in suspended, recessed and surface forms, Open features direct and I/D distribu-tions plus three unique end cap options - transitional reveal, square reveal and flat conceal. Open can be specified with integrated controls for dimming, occupancy detection, lumen manage-ment and networking. The uplight and downlight can be controlled separately. www.peerlesslighting.com
Xootube 38LED LinearA linear designed LED tube with a diam-eter of 38mm that combines industrial style with elegance through 11 coloured end caps, is made from one piece to implement a wall thickness of just 1mm. Through a defined pre-curvature of the luminaire, a length of almost 2m with a completely straight form is created, along with homogenous light and a beam angle of around 360º.www.led-linear.com
Ultra CRI rangeKKDCThe Ultra CRI range from KKDC delivers 90+ CRI across all R14 values and notably the R9 (red) with a CRI value of 98.3. The Ultra CRI is tested to the full LM79 standard by an independent UKAS accredited laboratory. KKDC has also used the ‘Colour Quality System’ (CQS) designed to provide a more reliable metric for colour quality. The CQS is recognised as a more accurate way of assessing the colour attributes of LED light sources.www.kkdc.co.uk
Lumencove NanoLumenpulseThe award winning Lumencove Nano is a dimmable cove lighting system that eliminates the need for a power supply. The luminaire debuts Lumendrive, a proprietary ASIC technology that pow-ers and control LEDs directly from the AC mains - while still allowing full dig-ital dimming and control. By dispens-ing with a power supply, Lumendrive provides multiple benefits, including smaller size, extended lifetime, and outstanding efficiency.www.lumenpulse.com
LINEAR
VolicaLUGThe universal style of the luminaire allows for highlighting the features of various kinds of interior - from the most minimalistic to eclectic ones. Volica is perfect for creating lighting lines thanks to its simple, aluminium profile body which makes it possible to integrate the luminaire into the celling and the opal plexiglass diffuser allows for a uniform light distribution.www.luglightfactory.com
Open LEDPeerless
With no visible frame or border, the Lightweave Linear uses a preci-sion-formed light diffuser to weave light across the visual plane, placing 80% down and 20% up for wide on-cen-tre spacing. The uniquely slender profile (smaller in both width and height to the dimensions of a typical smartphone) is designed to provide an unobtrusive and elegant solution for commercial, educational and civic applications. Utilising a breakthrough application of flexible LED circuit tech-nology with over 200 low brightness LEDs per foot, the luminaire produc-es 4,300 nominal initial lumens with greater than 90% lumen maintenance at 80,000 hours (L90).www.hubbelllighting.com
Lightweave LinearHubbell
At Osram, we are confident that as a member of Recolight we fully comply with the spirit of the WEEE regulations. Our Customers know that through
Recolight they have a one stop shop service for the recycling
of our lighting equipment. Recolight removes the
burden of WEEE compliance allowing us to focus on
our core business.
Rune Marki, Managing Director, Osram UK
Havells-Sylvania are committed to providing our customers with the best possible solutions – and that
includes a comprehensive recycling service. That’s why our
membership of the Recolight scheme is important to us. The
Recolight network has over 2300 collection points covering the whole
of the UK. That means our customers, wherever they are, can all access a free recycling service.
At Osram, we are confident that as a member of Recolight
0845 601 [email protected]
John StoreySBU Director,Havells-Sylvania
At GE we are proud of our green credentials. That is why Recolight membership is so important to us: We know that Recolight both meets and exceeds our obligations to recycling lighting equipment. Recolight is also very engaged in the WEEE legislation, and that means we can be sure we get the best possible information and advice.
Steven Reed,Marketing Manager,
GE Lighting
146 TECHNOLOGY / ANNUAL PRODUCT GUIDE
Acolyte’s line of Variable White Ribbon-Lyte gives the user control over colour temperature of the light. Just as the temperature of daylight cycles from warm to cool and back to warm, Vari-able White RibbonLyte allows the user to do the same from 1,600K to 6,000K. Three different models allow diverse colour temperatures, for example the Variable White Amber model can create and automate circadian sleep cycle environments, perfect for hospitals and nursing homes.www.acolyteled.com
Coelux 35 / 40 / 60CoeluxAn optical device that reproduces the experience of the sun and sky through an artificial skylight, ‘sun rays’ enter a room casting blue-tinged shadows coloured by the diffused light from the ‘sky’. Nano-particles reproduce the phenomenon of atmospheric Rayleigh scattering, while LED illuminations with complex optics mimic the sun and cre-ate the sensation of infinite space.www.coelux.com
Arc LED High BayNualightAt just 4.3kg for the smaller model and 9kg for the larger model, the new Arc LED high bay from Nualight is incred-ibly lightweight and elegant in form factor, due to the distinctive curved ‘fins’ which dissipate heat while still enabling a range of lumen outputs up to 27,000. Arc comes in two versions: standard (IP44) and chemical-resistant (IP65, L70>100K) and can be optionally equipped with sensors and DALI. Also featuring best-in-class efficiency up to 115 lm/W, this product is available from January 2015.www.nualight.com
INTERIOR
InfinityNexia
Infinity is a luminary with LED tech-nology offering recessed, surface and pendant solutions. They can be used for any type of continuous or individual installation (vertical, horizontal or a combination of the two). In addition, there are different finishes (frame and trimless) and accessories (hangings and bases up to 1.5 m and 2.5 m). In horizontal installations using pendant versions, this means direct and indirect lighting in the same fitting can be used.www.nexia.es
Featuring infrared touchless control, Sento is a multifunctional luminaire with light emmission available on either one or both sides. Changeable optical inserts are available, as are a choice of LED light colours. Features for the models with light emmission on both sides include independently controlled uplight and downlight and a unique fad-ing feature. For the double-sided wall and ceiling luminaires any desired ratio of uplight to downlight can be set and saved in five stages – with full overall output.www.occhio.de
TrickIGuzzini
Designed by Dean Skira, the Trick range of IP-rated LED, button-shaped luminaires are available in three sizes ranging from 45mm - 160mm in diameter and produce a wide variety of optical distributions including wall washing, blades of light and radial surface washing. The patented optical design developed for the blade of light version produces a very clean output with an almost 360º distribution for the LED source. The lens also acts as part of the heat sink.www.iguzzini.com
Variable White RibbonLyteAcolyte
SentoOcchio
C r e a t i v e L i g h t i n g S o l u t i o n s
Tel: +44 (0) 1322 527629Email: [email protected]
Architectural, Marine and Display 30 years of design and manufacturing in the UK
Pro
duct:
LD3
6-50
0/LW
W/50
/OB/
ABM
More cost effective than using a linked system for an entire projectExactly the same product used for both straight and linked sections guaranteeing a matching effect and colour50mm or 75mm LED spacing depending on budget and light output requiredMaintained LED spacing across multiple lengths, so no dark spotsOptics chosen for there quality of beam and effi ciency93 CRI LED Low profi le designBlack or white versions available depending on mounting detail
LD36High Power Linear Lensed LED Wall Washer
Straight details can use lengths from 100mm to 2100mm in length
Curved details can use linked modules from 150mm - 1000mm in length depending on radius of curve
148 TECHNOLOGY / ANNUAL PRODUCT GUIDE
Luce Verde SeriesSattlerThe Luce Verde Series provides a glimpse of nature and an atmosphere of well-being due to the luscious green of the moss integrated in the gentle LED ring luminaires. The moss is pre-served, therefore durable and does not need maintenance. With their gentle softness and characteristic tactile feel, these large-dimensioned luminaires speak to all our senses and simulta-neously improve the room acoustics. Available sizes are diameters up to two meters.www.sattler-lighting.com
Miro Cube ArcRosco
The Miro Cube Arc is an architectural configuration of Rosco’s 4C and WNC Miro Cube LED fixtures. Designed to streamline architectural and museum installations of their innovative four-inch cube, Rosco’s Miro Cube Arc fea-tures a direct-wire power cable and re-cessed RJ45 connectors for data input. These modifications eliminate bulky connectors, which gives the fixture a more elegant profile and offers simpler installation for contractors expecting to pull hardwire power connections and data lines.www.rosco.com
INTERIOR
SantHalla
An aluminium linear LED luminaires with an opal diffuser and a unique design. The SANT luminaires has an excellent performance, the embedded LED light sources achieve the oper-ational efficiency of up to 150lm/W. The luminaires can be dimmable with direct-indirect lighting and the possibil-ity of tunable white LED temperature as currently needed (2700K – 6500K). SANT is an ideal solution when low power consumption, high efficiency and attractive design are required. Design by Rob van Beek.www.halla.eu
TaskXAL
This high efficiency LED light is perfect for the office. Thanks to its special micro-prismatic cover, the new Task provides bright, glare-free light with an optimum UGR value of < 19 as per DIN EN 12464-1. Its balanced design con-cept blends perfectly into any interior architecture, playing to its technolog-ical strengths. With a structural height of only 15mm, Task combines subtle aesthetics in a uniquely understaded luminaire. With 110 lm/W, Task owes its high lumen output to the use of the latest generation of high-efficiency LEDs (170 lm/W).www.xal.com
Splyt ReggianiCreated in collaboration with lighting designers LAPD, Splyt is a system of interior projectors with high perfor-mance wall washer optics, very narrow beams (<6°) and an optic compartment thickness of only 40 mm.The system allows the installation of the luminaires to be adapted to specific design needs by offering semi-recessed, track-mounted, surface-mounted and wall-mounted systems.Splyt is availbe in two sizes: 120x120mm or 150x150mm, with lumens from 1600lm to 2880lm, powers from 18 to 32 Watt and CRI 80/90. www.reggiani.net
Men Sole ViabizzunoThis IP20 light shelf system uses 24Vdc electrified racks made of a special conductive alloy. They are available in three lengths of 3000mm: rack A with a section of 12x30mm, for exposed fixing; rack B with a section of 39x20mm for exposed fixing or fully concealed rear panel fixing; and rack C with a section of 47x20mm for exposed fixing or for fully concealed rear fixing, to hold two shelves placed close together. www.viabizzuno.com
World class power in a matchbox3 & 6 WATT LED DRIVERS CERTIFIED FOR GLOBAL USE
RACD03 & RACD06 SERIES
ENEC, RCM, UL, EN AND PSE CERTIFIED (CB REPORT)
UNIVERSAL AC INPUT VOLTAGE RANGE
350mA TO 700mA CC OUTPUTS
INTEGRATED INPUT FUSE AND OUTPUT PROTECTION
CASE TEMPERATURE UP TO 75°C
COST EFFECTIVE 3 & 6 WATT LED DRIVERS
3 YEAR WARRANTY
w w w . r e c o m - l i g h t i n g . c o m
COST EFFECTIVE 3 & 6 WATT LED DRIVERS
CERT I F I EDCERTIFIED
CB
150 TECHNOLOGY / ANNUAL PRODUCT GUIDE
1060 LNInstaAccentuated illumination with high-quality white light for freedom of design, the 1060 LN is an encapsulated LED in-ground light line for decorative illumination with single colour light. It is suitable for installation in road sur-faces and car parks. Based on a robust channel body made of polymer con-crete combined with an anti-slip cover made of safety glass, this in-ground light line aims to set new standards in robustness and simple mounting. www.insta.de
Falcon Spelia ArcA&O
Developed for outdoor XXL architectur-al lighting (IP65) the DMX-controlled Falcon Spelia Arc white combines cost-effectiveness with environmentally friendly qualities and versatility. One of the most energy-efficient lamps on the market, its light output is equivalent to 3,000W xenon. The sulphur-plasma light engine Spelia convinces of an operating life of up to 50,000 hours and up to 165 lm/W. Low operating costs, extreme-ly long service life, continuous light spectrum and a CRI >80 are the main features this economical, high-powered washer.www.ao-technology.com
FlutLAMP
A robust aluminium floodlight luminaire designed for facades and vaulted ceil-ings - injection lacquered in a textur-ised grey or anthracite colour, and seri-graphed tempered glass. Able to swivel between 90º and 30º, it incorporates an anti-condensation valve and models are available with symmetric, asymmetric and street optics, for luminous flux of 5,000, 8,000 and 12,000 lm with warm and neutral white LED. There is an RGBW model available with luminous flux of 4,800.www.lamp.es
DiscoForma
An outdoor fixture range with an ele-gant aesthetic offering energy saving LED light source, with impressive uni-form lighting distribution. Perfect for security lighting entrances and avail-able in three sizes, the largest of which has a 682mm diameter, Disco’s slim external aluminum frame surrounds a body and satin opal diffuser made of injection molded vandal resistance polycarbonate with durable silicon gasket. Coated in superior polyester powder paint, resistant to outdoor atmospheric conditions, the simple to install IP66 luminaire comes recessed or surface mounted in a range of colour temperatures. www.formalighting.com
OUTDOOR
Wash 48Illumination PhysicsA new family of wash lights available in numerous configurations including ‘Multi-Lens’, which utilises more than one lens angle within one fixture. Lens angles available include 5º, 10º, 25º and 45º, as well as the ‘Multi Lens’ option (5º + 10º / 10º x 35º). Depending on the configuration, between 5,000 and 9,200 lumens are produced and a variety of white lights are available, as well as 2,400K to 6,000K, RGBW and RGBA. The electronic drivers can be integrat-ed into the fixture or supplied with a remote driver.www.illuminationphysics.com
KalypsoLED LinearA high-performance encapsulated linear surface-mounted luminaire in IP67, with precise linear optics for optimum light control combined with high protection and performance of up to 3,000 lm/m. The profile of small cross section and either 10° wall grazing, 30° or 60° general lighting optic, guarantees a tar-geted illumination of the lighting task. Available in standard lengths and with IP67 luminaire-to-luminaire connector, the mounting is realised with invisible light joints and connections.www.led-linear.com
151
Large ArizonaLigman
Exterior 400Martin Professional
The Exterior 400 range is available in a number of variants depending on the application - 400 for long-throw, 410 for shorter throw, using pre-mixed LED with no colour separation, 420 for white light colour temperature control (2,700 - 6,500K), and 430 for single colour, using high-efficient LED in either red, green, blue, warm white or cold white options. A choice of beam angles are also available from7.5º, 14.5º, 31º and 57º.www.martin.com
SCULPlineSchrederThis linear LED floodlight, available in a wall mounted or recessed version, creates continuous lighting effects with a choice of intensities, colours (RGBCW and neutral, warm, cold and tunable white) and lengths. A compact design integrating DMX technology, instant switching, easy dimming, on-site photometric flexibility and a discreet integration make it the ideal tool for any architectural setting.www.schreder.com
LightVault 8Kim Lighting
Representing a new family of LED in-grade luminaires, the LightVault 8’s Bluetooth connectivity makes it stand out amongst its competitors. The solid brass fixture, which features LED optics, uses high-speed Bluetooth technology to enable field aiming and dimming while offering control from your iPhone, Android or tablet. The luminaire is available in spot, wall-wash and narrow flood in-grade applications; multiple colour temperatures; up to 2,500 lumens output; and flat-lens, half-shield, eyeball, rock guard and directional marker-style housings. www.kimlighting.com
The Large Arizona light column from Ligman is equipped with high quality power LED modules pro-viding good illumination output with higher CRI +80, rendering sharp clarity on a space. The projector head can be rotated and tilted to any desired angle and the LED module can combine any beam angle distribution from narrow, medium and wide. The Ar-izona is available in three colour temperatures - 2,700K, 3,000K and 4,000K.www.ligmanlighting.com
4060-Luminy 6LEC LyonThe LEC 4060-Luminy 6 spotlight is used to illuminate facades, monu-ments and so on. Equipped with 36 super-watt LEDs in 1W or 3W, it has various lenses available and is made of a coated aluminium body with a 248 mm diameter. The spotlight is adjust-able in three axis to the nearest de-gree, which allows the use of elliptical lenses with great accuracy, and offers all colour choices. It can be supplied with an optional cap, a fixation plate and an integrated driver.www.lec-lyon.com
Luce 6MP IlluminationThe Luce 6 Picco Directional fixture is a waterproof, wall recessed fitting made from rigid die-cast aluminium. The LED unit in this luminaire produces 1-2W of power, producing an even, linear beam, and incorporates its own LED driver. The recessed box design with protective rub-ber gaskets makes it ideal for outdoor applications. It is perfectly at home in gardens, walkways, corridors, and stairs, illuminating a variety of projects, from home to hotel.www.mpillumination.com
152 TECHNOLOGY / ANNUAL PRODUCT GUIDE
FACADE
Highlighter HL-DLGVAA modular LED lighting system featuring GVA’s proprietary power and control system Infinity, which allows it be in-stalled in exceptionally long runs up to 660ft or 201m, with a single power and data feed. Consisting of three compo-nents: the Highlighter module, an alu-minum mounting profile and an acrylic diffuser, the module is a fully sealed, IP66, 300mm (1ft) linear luminaire with 18 LEDs. Modules are installed and con-nected end-to-end within the profile to create linear runs. The acrylic diffuser, with specialised light diffusing and UV stabiliaing additives installs to the profile, over the LED module.www.gvalighting.com
6W Modular DotIllumination Physics
The 6W Modular Dot is a custom designed modular light fixture based on the IP Dot. As many modules as is required can be attached to it in order to achieve the desired projection of di-rect or indirect light - whether vertical, horizontal or both directions simulta-neously. As a customised product, the fixture had to be able to accommodate multiple combinations of a frontward facing diffused dot, while remaining flexible enough to allow for a sideward shooting fixture.www.illuminationphysics.com
Exterior PixLine 40Martin ProfessionalThe Exterior PixLine 40 is an outdoor LED video strip with a 40mm pixel pitch. Useful in creating customised LED video solutions, its compact size and IP66 rating make it suitable for facades, public spaces and more. Driv-en by the Martin P3 System Controller family, it is also compatible with DMX and can be fitted with a variety of dif-fusers and lenses. The fixture can also be fully customised in terms of length and colour.www.martin.com
Lumenfacade Lumenpulse
This linear, high-performance, LED pro-jector with a slim, 2-inch profile makes it easy to integrate the product into facades. The design repositions the driver chamber out of view, reducing the height of the luminaire and con-cealing wiring and mounting details. Available in 1’, 2’, 3’, or 4’ sections, the luminaire can be configured with a number of options such as: optics for grazing or flood lighting; a choice of outputs, various colour temperatures, mounting options, finishes, accessories and dimming control via DMX, DALI or 0-10 volt.www.lumenpulse.com
Instalight 1060 LHInstaInstalight 1060 LH allows homogeneous lines of light to be created within landscape design. It is a fully-encapsu-lated IP68 enclosure, with heavy duty stainless steel frame allowing drive-over capability. An integrated driver in the body of the luminaire combined with plug and socket connectors makes installation simple.www.insta.uk.com
SilverAgonLightThis high-quality solution designed by AgonLight is perfect for facade archi-tectural lighting. A RGB+W/A or static/dynamic white version with built-in PSU and DMX512 control, the product is addressable by dip-switch or RDM protocol. Silver can feature narrow, me-dium and wide beams and is availbale in different sizes such as 600-900-1200mm (38-60-77W). Housed in silver anodised aluminum with tempered glass, a vent valve makes this the ideal solution for indoor and outdoor, permanent, lighting installations. AgonLight worked on the Princess Tower in Dubai, the highest residential tower in the world, a project that was later named Best Middle-East Lighting Project in 2013.www.agonlight.it
STREET
ParcoHess America
Tap Top - Type 6Leccor
A single pole-top luminaire made of al-uminium with asymmetrical flat beam, light distribution by easy replaceable 18W / 28W LED module. This econom-ically priced streetlight works with a direct connection on 100 - 270V (no mains adapter needed) and has an overvoltage protection of 2kV. It has a luminous flux of 1,980 lm / 3,100 lm, step dimming and optional light sensor. This luminaire is made for spot height of 4 - 6m.www.leccor.de
UrbaThorn
Urba is an LED lantern exclusively designed by architects, city planners and designers, Wilmotte & Industries. This versatile lantern is suitable for many urban applications from pedestri-an and cycle lanes to minor and main urban roads. Available in two sizes up to 15,000 lumens with nine light distribu-tion choices, Urba provides efficient LED lighting (up to 100 llm/W) to illu-minate the urban landscape and placing light precisely with no waste (ULOR=0) due to dedicated optics.www.thornlighting.com
CFT500 LEDWE-EFThis post top luminaire series provides various options for efficient yet aes-thetically appealing lighting in public spaces. WE-EF’s innovative OLC lens technology guarantees precise lighting direction. Whereas WE-EF had previ-ously used square LED boards for street and area lighting, the new semi-circular LED boards open up additional design possibilities. Two new LED lens systems have been developed to suit the round shape - C50 for symmetric and R for rectangular light distribution.www.weef.de
Graceful organic ar-chitecture, housing a
semi-regressed luminaire body, harmonise to
form the Parco, while the rectangular pole profile with its con-
cealed mounting base and hardware, terminate subtly at the grade. The
LED luminaire with in-tegral driver emits zero uplight, satisfying dark
sky requirements, while two light distributions
are available to provide highly efficient pedes-
trian scale illumination. Colour temperatures
are available in 3,000 or 4,000 Kelvin and power
consumption is 47W. www.hessamerica.com
Yoa Schreder
Available in two sizes, the Yoa range offers a complete solution to light urban spaces with the same efficien-cy and elegance throughout the city. Equipped with the second generation LensoFlex2 photometric engine, it offers a high-performance photometry optimised for each specific application with minimum energy consumption while improving comfort and safety for people.www.schreder.com
KickArchitectural Area Lighting
Beautiful contemporary design meets high performance lighting with Ar-chitectural Area Lighting’s new Kick luminaire. Available in a four-inch square profile with 6,500 lumen output of a five-inch profile with 13,000 lumen output, AAL’s new contemporary urban luminaires are the perfect street and pedestrian fixutre for up mounting heights of 25-inches. The Kick comes in multiple colour temperatures, three optical distributions; is UL wet listed, IP65; and can be mounted as a single, double, triple, or quad.www.aal.net
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TECHNOLOGY / ANNUAL PRODUCT GUIDE 154
CONTROL
AcolyteGlass Touch Wall Controller
e:cue ETH2DALITraxonFlexible and scalable, the e:cue ETH-2DALI control engine integrates both functional and dynamic lighting with state-of-the-art control capability. Taking the best out of the DALI world and adding DMX512 capabilities, ETH-2DALI bridges the gap between general lighting and creative lighting effects. Remote control is easy via the upgraded Lighting Application Suite (LAS) 7.0, or the intuitive and fully customisable Action Pad app. ETH2DALI, together with LAS7.0, provides an ideal lighting control system for retail shops, offices and hospitality projects.www.traxontechnologies.com
The patented Glass Touch Wall Con-troller is Acolyte’s first proprietary DMX controller designed to operate with the RGB and Variable White Ribbonlyte product line as well as any three-channel DMX lighting fixture. With sleek housing and an easy to use colour dial spectrum, it can remember five presets, manage multiple scenes, dim, set lighting moods with a single touch and is available in two standard sizes for North America, Europe and Asia.www.acolyteled.com
LumentalkLumenpulseLumentalk is a patented technology that enables digital control of LED lighting over existing AC power lines, reducing installation costs and facilitat-ing the conversion to LED lighting. With Lumentalk, electrical wiring becomes a stable, noise-free, high-speed commu-nications link, enabling LED fixtures to be controlled without additional wiring for data. The technology is protocol in-dependent, making it compatible with common dimmer and control standards such as Triac, 0-10V, DALI, DMX and ELV. Pictured is the Blatnik Bridge in Wiscon-sin, which used Lumentalk to limit the amount of wiring and labour required to modernise the lighting systemwww.lumenpulse.com
EasyRemoteNicolaudieEasy Remote is an entirely customised remote controller for your tablet or smartphone. Easy Remote is a powerful and intuitive app allowing you to easily add buttons, faders, colour wheels and more. The app can control the ESA2 and Sunlite Suite 2 software. It’s also capable of controlling our Ethernet en-abled stand alone controllers. Connect to a WiFi network and the app will find all compatible devices.www.nicolaudie.com
LITECOM ZumtobelLITECOM reduces control processes to a minimum and enables convenient user prompting and intuitive operation by us-ing apps. The linking of controller, touch panel and software in an open system is one new feature. This makes it possible to create, control and monitor fully customised lighting solutions – from any PC, smartphone or tablet. www.zumtobel.com
EyeNutHarvardThe award-winning EyeNut solution is revolutionising the indoor lighting market by allowing users to completely configure, control and monitor their own lighting. Developed by world leader in the design, development and man-ufacture of lighting controls Harvard Engineering, EyeNut allows retailers to implement various control strategies, including ambient and accent control, aisle dimming, scene selection by zone depending on footfall and occupancy levels, and daylight harvesting.www.harvardeng.com
Hammersmith Apollo London, colour-changing foyer lighting by RadiantLighting design by Jim MorseWinner of the LUX Award for Hospitality and Leisure Lighting 2014
Design by
3D LED Flex 40 system, RGBW versionSystem adjusts on-site to follow complex cove profiles
Tel 44 ( 0 ) 208 348 9003
Web www.radiantlights.co.uk
email [email protected]
Mondo November 2014 half page.indd 1 11/27/2014 10:43:21 AM
TECHNOLOGY / ANNUAL PRODUCT GUIDE 156
DRIVERS
L05031Lumotech
The L05031 is a versatile 30W driver, offering excellent value for money and a very wide operating window, ensuring that one driver can be used for multiple fixtures. The L05031 is in an extremely compact form factor and therefore particularly ideal for (track) spot applications as fixture designs become smaller and more streamlined. This is one of a suite of new products from Lumotech (including DALI drivers and outdoor-rated drivers) all featuring low inrush, wide voltage range, self-regu-lating temperature control and a five year warranty.www.nualight.com
The constant voltage (CV) DALI dimming extension range allows several LED packages to be installed in parallel with up to a maximum current of 5A. The CV range delivers a host of benefits including low system standby power, while the 24V power supply reduces power loss over LED strips. The DALI input of LL1 x CV-DA is mains rated and double isolated from power input and load, offering a high degree of protec-tion making it suitable for Class I, II and SELV luminaires.www.helvar.com
RACD100A / RACD150ARecom LightingThe RACD100A (100W) and RACD150A (150W) are high-power constant current LED drivers for applications that require a high output voltage. With their wide input voltage range of 90 to 305VAC, the drivers can be used worldwide on 115V ac, 230V ac and 277V ac supplies. Beside UL8750 and EN61347 they are also PSE / DENAN certified for the Japanese market. Both series support dimming via PWM or 1-10V signals, are fully IP67 sealed for indoor and outdoor applications and come with a five-year warranty.www.recom-lighting.com
CV DALI rangeHelvar
labyrinth?
pipeline?
pathway?
The MJT LED series is designed for AC & DC (high voltage) operation and high flux output applications. It incorporates state-of-the-art SMD design and low thermal resistant material. The MJT LEDs are the ideal light source for general illumination applications, pathway lighting and custom designed solutions. The package has an improved structure and is based on copper. The package design coupled with careful selection of component materials allow these products to perform with high reliability.
www.seoulsemicon.com be bright
If this is a pathway –
we make it shine!
MJT 3030
· High reliability· Cost-efficient solution · Designed for high voltage AC & DC operation · High flux output · Compact size
Anzeige_Pathway_210x150_engl.indd 1 14.11.14 10:56
ADVERTISERS INDEX
A&O ................................................. 119Anolis ................................................. 12Architectural Area Lighting ................ 57Architonic .......................................... 16CD+M Lighting Design Group ........ 159CLS ...................................................... 8darc night ............................................ 5David Morgan Associates ................ 155Dial .................................................... 97EQ2 ................................................. 158ERCO ................................................. 21Fuhua Electronic ............................. 157Global Design Solutions .................... 63Griven ................................................ 19Guangzhou Int’l Lighting Exhibition 126GVA ................................................... 73Hacel ................................................... 9HALLA ............................................... 47Havells-Sylvania ................................. 91Huda Lighting .................................... 83IALD ................................................. 105iGuzzini ........................................... 158Illumination Physics ........................... 99Insta ................................................... 59
Into Lighting .................................... 159Intralux ............................................... 41ISTL .................................................. 155Kim Lighting ...................................... 37KKDC ................................................. 45Lamp ................................................. 75LEC-Lyon ......................................... 119Leccor .............................................. 125LED Linear ....................................... 164Lee Filters ......................................... 71Lightgraphix .................................... 147Ligman ................................................. 4Linea Light ....................................... 159Lucent ................................................ 35Lucifer ................................................ 25LUG ................................................. 125Lumenpulse ....................................... 23Luminus ........................................... 133Luxintec ............................................. 97Macron ............................................ 156May Design Series ............................ 6-7MBN .................................................. 15Nicolaudie ......................................... 11
Occhio ............................................... 31Orlight ................................................. 1PLDC ................................................. 10Precision ............................................ 67Proliad ............................................. 115Pulsar ................................................. 79Recolight ......................................... 145Recom Power .................................. 149Rising Dragon Technology .............. 103SAT .................................................. 145Sattler .............................................. 163Seoul Semiconductor ...................... 157Signcomplex ...................................... 93StrongLed .......................................... 14Studio Due ........................................ 17Teknolight .......................................... 43Thorn ................................................. 13Traxon & e:cue ..................................... 2Unilamp ............................................. 81Verbatim .......................................... 131WAC Lighting .................................... 27Wibre ................................................. 63XAL ...................................................... 3
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: [email protected]
The US annual subscription price is USD105. Airfreight and mailing in the USA by agent named Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage pending at Jamaica NY 11431.
US Postmaster: Send address changes to mondo*arc, C/O Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA.
Business Development Managers - Saudi Arabia
iGuzzini Middle East is excited to announce the expansion of its operations in Saudi Arabia with 2 fantastic career opportunities to work within a strong and successful team.
Fundamentally responsible for the territory with the aim of improving turn-over and achieving an agreed annual invoice sales target, the candidates will be based in Saudi Arabia promoting the range of lighting products to the specification market and building/maintaining a strong project backlog.
The responsibilities will include raising brand awareness and organising appropriate marketing activities to build a strong customer database and relationships at all levels as well as working in partnership with the local trading partners to ensure a good cooperation to maximize opportunities by using individual and the company strengths and resources appropriately.
The ideal candidate will be an experienced lighting/ electrical salesperson with local knowledge and contacts within the region with architects, con-sultants and designers - a driven and creative, self-motivated professional that has good communication and presentation skills with the confidence to present ideas and solutions to customers. Commercially minded he should have an ability to think creatively and have confidence to promote new ideas and execute them. Positive energy, drive and a will to achieve goals are essential. Knowledge of the Arabic language and a proven specification sales experience in Saudi Arabia would be an added advantage.
Applications and inquiries on the roles can be sent to [email protected]
iGuzzini is an international community at the service of architecture and the development of light culture, for a better society and life. The community has real points of reference: 22 operating offices, 19 partner assistances centres, 78 international partners, 3 logistic and production platforms and 1202 collaborators.www.iguzzini.com
Lighting Designer
DescriptionYou will be an effective communicator at all levels, able to manage deadlines and several projects • Extensive knowledge of all relevant software packages • International travel may be required • Salary and benefits will be commensurate with ability and experience • EQ2 light offers an employee share trust scheme.
Your skillsDegree in lighting / electrical engineering / related design degree, interior design or architecture • Strong conceptual focus and presentation skills • Drive and creativity • Willingness to travel • AutoCad, Adobe, MS Office and Dialux literacy essential. • Previous work experience in a lighting design consultancy with artificial and daylight design skills beneficial.
Apply Please send your application including your CV and portfolio illustrating projects you have significantly contributed to and your salary requirements to: [email protected] EQ2 light, 39 Hatton Garden Street, London, EC1N 8EH, UK.+44 (0) 207 8404 4488 • www.eq2light.co.uk
into is an award-winning multi-disciplined lighting design consultancy with over 35 years’ experience working with talented architects, interior designers and clients on projects worldwide. We have offices in London, Hampshire and New Delhi along with established partnerships in Germany, Hong Kong and the USA. This allows us to provide lighting design services for projects throughout the world. Due to the progressive acquisition of new business in various sectors, along with a strong client base both in the UK and internationally, we are currently looking to further expand our team. SENIOR LIGHTING DESIGNER – LONDON OFFICEYou will at present be a Senior Lighting Designer with a minimum of five years’ experience in an independent fee-based lighting consultancy [two of these in a senior role]. You are now looking to further your career, take on greater responsibility with your work and use your creativity to drive projects. You will be experienced in working on a wide range of projects internationally and able to run large-scale projects from conception to completion. You will be an effective communicator at both board and contractor level and able to manage, guide and inspire a team of Lighting Designers. As well as possessing excellent creative and technical skills, you will have extensive knowledge of all relevant software packages. We are offering a highly competitive remuneration package, commensurate with experience. Package includes profit share, company pension scheme and private healthcare. All applications will be treated with the utmost confidence. Please apply in writing to: Sophie Gibson – [email protected] You should include your educational history, employment history, a list of lighting design projects you have significantly contributed to, examples of your work and your salary requirements. Excellent written and spoken English is essential.
www.into.co.uk
Due to increasing growth, Orlight is currently seeking to recruit
a lighting designer to join its Design Team based in its brand new
Showroom on the fashionable King’s Road in Chelsea, London,
Working on large high-end developments, both nationally and
internationally, you will be expected to work as part of a growing
team and have the ability to undertake projects of your own with
guidance from the senior members of the team.
Applicants must have a minimum of two year’s experience working
within a lighting design consultancy and hold a relevant design
qualification. Candidates must also have working knowledge of
CAD, Adobe Photoshop, Microsoft Office and most importantly Relux.
In addition, you will need to demonstrate excellent design, project
management and presentation skills, enthusiasm, dedication and
a keenness to learn. Product knowledge is also essential.
To apply, please send your CV, along with a portfolio of your work, to
LIGHTING DESIGNERF R O M S O U R C E T O S I T E
WE are seeking talented lighting designers to help us craft new and exciting projects for our clients in more than 30 countries,
worldwide.
WE can provide opportunities for creativity, professional growth and international travel.
WE are an award-winning, multi-disciplinary lighting and controls design firm, developing the foremost theme parks, casinos, resorts,
commercial towers and retail centers, every day.
YOU must have at least 3 years of experience in architectural lighting design and be fluent in English. Proficiency in Mandarin or Arabic is a plus. Ideal candidates will possess a comprehensive
knowledge of international lighting, controls and industry practices and will have proven experience with Autocad, AGI32, Adobe CS,
Dialux, Revit, Sketchup and Microsoft Office.
Please submit a CV and cover letter describing your interests to [email protected]
CD+M is an equal opportunity employer. For more information
about our team and our work, please visit us at:www.cdmlight.com
Business Development ManagerLondon and Home Counties focused
The Linea Light Group one of Europe’s largest and fastest growing lighting manufacturers is offering you an exciting opportunity to join its flagship subsidiary, Linea Light UK ltd.
Our Group has pioneered the development of LED technology over 20 years, to become one the most trusted names in the market.
Our state of the art manufacturing base in Italy allows us to offer our clients a complete lighting solution for even the most demanding projects through our comprehensive brands.
We are looking for self-motivated, dynamic and energetic people with proven track records and strong contacts in the following routes to market:
• Lighting Design• Interior Design• Architecture We are offering you the opportunity to grow with a major player in the lighting industry with a salary and a comprehensive package that will reflect your experience.
If you are interested in being part of our dynamic team, then please send your CV with a brief cover letter to [email protected]
• Retail Design• M&E Consultancy
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This edition of mondo*arc comes from the sunny Middle East with Nathan Savage of Nathan Savage Lighting Design L.L.C. providing his take on inspiration. Ex-pat Nathan has spent nearly a decade in Dubai after starting his career in the UK so he is expertly placed to comment on and understand the differences in culture and in nature between the two continents of Europe and Asia. Nathan cites these differences as a source of constant inspiration. He finds inspiration in comparing the variations in natural light between these two contrasting worlds he regularly travels between. He has illustrated this with opposing photographic images: a cloud with a silver lining taken across the lake at the Yorkshire Sculpture Park and children playing with the world in a Bahrain sunset.
162 INSPIRATIONS / #28 NATHAN SAVAGE LIGHTING DESIGN CURATED BY
LIGHT IN NEW DIMENSIONS
Harmony for the Senses TOCCATA, with its dynamic arrangement of five
intertwined rings, it is in continuous interplay
with the surrounding architecture. The tangent
arrangement makes the movement of the light
visible for the observer. Its linear light distributi-
on creates an incomparable aesthetic presence
of the LED application. – Recently awarded with
the IF- product design award 2014.
Ø 900 mm
35.4“
Ø 1550 mm61.0“
Ø 1900 mm 74.8"
www.sattler-lighting.com
TOCCATA
