T H E I N T E R N AT I O N A L M AG A Z I N E F O R D E S I G N E R S W I T H L I G H T #83 2015

LET THE
OUTSIDE IN
DAYLIGHT THINKING FROM
GRIMSHAW, JAMES CARPENTER
AND ARUP AT FULTON CENTER

DARC AWARDS LAUNCH PARTY • EXTERIOR LIGHTING • FESTIVALS OF LIGHT

LUCENT'S MICHAEL DUNK & ZUMTOBEL'S ROGIER VAN DER HEIDE INTERVIEWED
FROM SOURCE TO SITE

ORLIGHT PRODUCT SNAP SHOT

ARCHITECTURAL DOWNLIGHTS

ORLIB1M ORLIB2M ORLIB2MNMB ORLIB3M ORLIB4M ORLIB4MSQ ORLIC2M ORL1009SURFACE

IP54 IP65 IP65 IP65 IP65

ORL1009 ORL1019 ORLIP541019 AQUASPOT STEAMSPOT SHOWRSPOT ORL2009 ORLGS1

ORL1018-1 ORL2018-1 ORL3018-1 ORLIG1M ORLIR1M ORL7008 ORL8018 ORL4009

Downlight Options*
Individual finishes available
+ Twin + Slimline + IP Options
+ Retrofit LED lamps + Engine Options
* Dependent on downlight range
CONVERSE ALL WHITE BLACK CHROME SATIN CHROME GOLDEN GLOW

SOLID STATE DOWNLIGHTS

MTG21 MTG22 MTG21-BLENS MTG22-BLENS XTE61 XTE62 SHP105 SHP115

MTG41 MTG42 MTG42 DUAL MTG42 QUAD ORL5009 TURBO ORL1050 TURBO ORL019 MAXI TURBO ORL5019 SQ

ORLLED600 ORLLED600 SF ORLLED1200 SASI1215 SASI1230 SASI6060 ORLDOT2LED ORLIG1M + DIABLO

LIGHTING DESIGN STUDIO § IN-HOUSE TESTING FACILITY § BESPOKE MANUFACTURING § EXTENSIVE

F O R T H E F U L L O R L I G H T R A N G E V I S I T:
w w w . o r l i g h t . c o m
 YOUR L IGHTING TURNKE Y SOLUTION PROVIDER

ARCHITECTURAL LINEAR

STANDARD STRIP EVO STRIP EVOLUTION TWO REFRACT 2 EVOLUTION PLUS 2 REFLEX - TOP REFLEX - SIDE LED PROFILES

DESIGNER INTERIORS

ORLHP1 ORLHP2 ORLHP3 ORLIP4 ORLIP1 ORLIP2 ORLIP3 ORLIP5

ORL1581 ORL2734 ORL2736 ORLMT1 FUTURA ORL4MP HALO MIRROR ORL2AB

L ANDSCAPED EXTERIOR

ORLLM600 ORLLM78 ORLLM96 ORLLM760SQ ORLLM736 ORLLM22 ORLLM119 ORL3011

ORL3020 ORLLM66 ORLLM214 ORLLM88-2 ORLLM248 LUCIA LUNGO ORL3012

AMENITY LIGHTING

EZENTIAL EZENTIAL TURBO ORLWP122LED ORLWP222LED ORLWP9 ORL1551 ORLL30 & L40 ORL 1551 SQ

UK STOCK HOLDING § LONDON SHOWROOM § DIRECT TO SITE SERVICE § INTERNATIONAL SUPPLY

w w w.orlight.com | 01707 663 883

FROM SOURCE TO SITE

YOUR L IGHTING TURNKE Y SOLUTION PROVIDER

HIGH END ARCHITECTURAL INTERIORS

COMMERCIAL LED LIGHTING

HOSPITALITY

EXTERIORS

GYM & SPA

w w w.orlight.com | 01707 663 883

 ®

Wireless Adjustable Aiming & Dimming.

Sealed LED Light Engine.

http://www.kimlighting.com/ltv8/

The Bluetooth word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Kim Lighting is under license.

kim_ltv8_mondo_feb15.indd 1 1/9/15 3:16 PM

DESIGNED
FOR
GROWTH

Curated for business, the May Design Series

is the most commercially focused interiors
trade show in the UK calendar.

New and international suppliers meet the

smartest buyers across five show sectors:
Furniture | Kitchen, Bedroom + Bathroom |
Lighting incorporating arc | Decor | DX.
London ExCeL
17–19 May 2015

Be a part of it now
maydesignseries.com/mondo

Organised by Event partners

Trade only. No children

 A complete line of LED fixtures designed for Outdoor Applications

Musik Verein, Austria

• Lighting designers can configure thousands

of variants through our online configurator.
REVO REVO Magno
• Large choice in lumen outputs, beam angles, product dimming
LED colours & dimming methods. movie movie

European manufactured LED products • www.cls-led.com • info@cls-led.com • P: +31 (0) 26 326 36 76

Arc-adv-febr-ma-2015.indd 1 19-01-15 09:56

 Rome
Professional Lighting
Design Convention
www.pld-c.com
28. – 31. October, 2015

72 paper presentations

More than 1500 attendees expected

Latest know-how and research findings

Exhibition of leading manufacturers

Gala dinner and PLD Recognition Award

Marketplace for the PLD community

Excursions

Pre-convention meetings

Cities’ Forum

Experience rooms

Social events

The Challenge: Round IV

Self-running poster presentations

PLDC is a brand of the

 LS-Live
Elektra Lighting

Cinimod Studio
Ingo Maurer

Magic Monkey

Lighting Without Limits.

With a fully equipped manufacturing facility in Cambridge, Britain’s
technology capital, we create high quality lighting solutions to
match the specific requirements of each of our customers with
durable, robust, and reliable lighting solutions.

+44 (0) 1223 403 500 | sales@pulsarlight.com | www.pulsarlight.com

LWL - Projects.indd 1 10/09/2014 15:18

PROLED ALUMINIUM PROFILES
The PROLED aluminium profiles are the perfect addition to the wide PROLED FLEX STRIP
range. The FLEX STRIPS can be glued into the profile. The profile can simply be sawn
to any required length. Different versions of aluminium profiles and different shapes of
plastic covers are available. Plastic covers are available in three versions: clear, frost,
milky (opal). The covers are also available as BREAK-PROOF version.

PROLED FLEX STRIPS

can be glued into the profiles

FLEX STRIP 300 MONO

FLEX STRIP 600 MONO

FLEX STRIP 1200 SINGLE EXTRA BRIGHT MONO

FLEX STRIP 1200 DOUBLE MONO ...and many more!

The PROLED FLEX STRIPS are perfect for indirect lighting, as custom made versions for
fair or shop applications as well as for all kinds of illumination. Due to their shallow
design and the individually adaptable lengths the PROLED FLEX STRIPS offer a wide
spectrum of application possibilities.

VISIT US AT WWW.PROLED.COM MBN GmbH

Balthasar-Schaller-Str. 3
86316 Friedberg · Germany
Tel. +49 /8 21 /6 00 99 -0
Fax +49 /8 21 /6 00 99 -99
E-Mail info@proled.com

www.proled.com
ALL YOU CAN PIXEL!
ANOTHER PERSON’S DARK SPACE
IS OUR BLANK CANVAS.
AN IALD PROFESSIONAL LIGHTING DESIGNER SEES
THE POSSIBILITIES IN EVERY ENVIRONMENT.
LEARN HOW AN IALD LIGHTING DESIGNER CAN TURN YOUR VISION INTO REALITY.
VISIT IALD.ORG AND CLICK ON "FIND A LIGHTING DESIGNER" TO REFINE YOUR SEARCH.

PUBLIC PASSAGE | MUNICH, GERMANY | LIGHTING DESIGN, PFARRÉ LIGHTING DESIGN | © ANDREAS J. FOCKE
 Helping you to use light
more creatively

LED | FLUORESCENT | EMERGENCY | DIMMABLE

WAT E R P R O O F | CO LO U R E D | D I F F E R E N T

New brochure | New website

3 D d w g & r f a f i l e s | P h o t o m e t r i c d a t a | S a m e d a y q u o t e s | Wo r l d w i d e d i s t r i b u t i o n

01525 376974 | www.encapsulite.co.uk

2445 Mondo Arc Cover Ad 236x333.indd 1 29/01/2014 10:32

 Rome, Italy I Pantheon dome

architectural natural light.

• outdoor wall washer

• led linear bar
• tunable white

• monochromatic light

• inground luminaries

• battery led color changers

• high bay solutions

I
graphics: Vilfredo Maria Ricci - © 2014 Studio Due

Rome, Italy Temple of Portunus

Studio Due led wash light.

lit up with CityColorLED

STUDIO DUE light s.r.l. • 01100 Viterbo (Italy) - t. +39.0761.352520 • f. +39.0761. 352653 • info@studiodue.com • www.studiodue.com
018 CONTENTS

[feb/mar]
Front cover pic: Fulton Center, New York supplied by Grimshaw.

048 Interview
Jill Entwistle gets to
grips with Lucent founder
Michael Dunk.

DETAILS ART & DESIGN TECHNOLOGY

022 Editorial Comment 086 Fetes des Lumieres, Lyon 106 Geoff Archenhold
The darc awards has finally arrived. Paul James pays the world’s most established Smart lighting and an industry slow to react.
024 Postcard festival of light a visit. 109 Christopher ‘Kit’ Cuttle
Courtesy of Factorylux and Light Collective. 092 Amsterdam Light Festival The difference between vision and perception.
026 Headlines Paul James takes a canal stop tour of this 112 Case Studies
The latest industry news. impressive event. A selection of projects featuring innovative
028 darc night 100 Enlighten Manchester lighting including: Galeria Melissa Covent
News from the darc awards launch party. A pilot lighting project showing promise. Garden (p112); Whitman-Walker Memorial
030 Eye Opener 104 Dark Source Stories (p114); Bolte Bridge (p116); Qatar Handball
Flylight, Het Noordbrabants Museum, The The latest installment in Kerem Asfuroglu’s Association Complex, Doha (p118);
Netherlands dark vision of light. Schlossplatz (p120); Medici del Vascello
032 Drawing Board (p122); Encants Market (p124); Liberty Mutual
Our preview of proposed projects. footbridge (p126); Daryl Roth Theatre (p128).
036 Spotlight 092 130 Auroralia Award
A selection of brand new projects from Strijp-5 in Eindhoven is victorious.
around the world. 132 Rethink The Night
042 Briefing Hellenic Illumination Committee workshop.
We talk to Rogier van der Heide, Zumtobel’s 134 Bench Test
new Head of Design and Marketing. David Morgan looks at Trinity’s new range of
044 Snapshot slick and stylish exterior lighting bollards.
Introducing South African practice 136 Exterior Lighting Product Guide
Pamboukian Lightdesign. Inside out fittings.
046 Lighting Talk 144 Euroluce Preview
Jennifer Hamilton, founder of The Vawdrey What’s coming up in Milan.
House, talks light. 146 New Product Guide
154 Inspirations Brand new products for 2015.
Illustrator / architect partnership, Nanotak. 152 Event Calendar
 art&image
A 360°
LIGHTING
APPROACH
Every urban context can gain new identity and symbolic value by means of a
multidisciplinary lighting education approach.
GRIVEN’s fresh architectural lighting perception is implemented through
a series of advanced technology LED products for modular, wall washing,
recessed, underwater, linear and pixel lighting applications where its functional
or decorative custom-made quality products help re-define the space we live
in with eco-friendly and energy saving solutions.

www.griven.com

GRIVEN S.r.l. I Castel Goffredo I MN I Italy I Tel. +39.0376.779483 I Fax +39.0376.779682 I griven@griven.com
020 CONTENTS

[feb/mar]
Online
Watch Grimshaw Partner,
Vincent Chang and Artist,
James Carpenter as they
discuss the Sky Reflector-Net
at the Fulton Center, on
www.mondoarc.com

PROJECTS PROJECTS PROJECTS

054 Novo Nordisk HQ, Bagsværd 068 Fulton Center, New York 080 Onze Lieve Vrouwe, Amersfoort
Winner of the 2014 Danish Lighting Award, Featuring Grimshaw design, in conjunction Dutch designerJeroen Jans turns the tower
the Novo Nordisk campus is the clever work with Arup, and daylighting design from into a central and prominent structure for
of Grontmij and Henning Larsen Architects. James Carpenter Design Associates. the community.

062 Chifley Tower, Sydney 074 IZB Residence, Munich 083 Nordbad, Munich
PointOfView brings the building’s Art Deco At the heart of Martinsried Life Science The iconic historic swimming pool receives
styling to life through a creative lighting Campus sits an elegant space brought to life renovation to its lighting designed by
update. by Occhio lighting. Gabriele Allendorf Light Identity.

074 080 083

022 DETAILS

[editorial]
Paul James, editor, writes: This issue comes to you later than normal as we just had to wait for
our darc night, the official launch party for our international lighting design darc awards that took
place in London on February 5th. It was a fabulous evening and many thanks to Light Collective for
transforming the venue with light and Kerem Asfuroglu of Speirs + Major for the amazing Dark Source
video and exhibition.
Now the party is over, the serious issue of developing the awards to be exactly how you want them
gets under way. We have listened to lighting designers and manufacturers who have been craving change and we
feel we have come up with the ideal format - both in terms of the awards process and the event - to really engage
with you. As I said during my speech, we were reluctant to launch yet another awards programme but the calls were
getting so loud that we couldn’t ignore them any longer. A huge thank you to our initial eight commercial partners -
Concord, Innermost, KKDC, L&L Luce&Light, LSE Lighting, Lucent, Megaman and Reggiani - and we will have some more
announcements about further partners coming on board shortly.
Based on the reaction at the launch party, three components that people particularly seem to like about the darc
awards are the year-round online presence of projects and products; the low and high budget project categories; and
the peer-to-peer voting. And that’s without even mentioning the exciting interactive element of the planned darc night
in September.
So take a look at www.darcawards.com, start submitting your work and give us plenty of feedback. We’re listening.

Helen Fletcher, deputy editor, writes: It’s been a busy couple of months at the mondo*arc offices
with the team juggling the Feb/March issue; the 2015 ILDS; preparing for the darc awards launch
party; and a day out to the printers (Blue Peter style) in Buxton... and all with Christmas festivities
slap bang in the middle! But we’ve survived to tell the tale and as this is my first ‘proper issue’ I can
safely say I’ve enjoyed every last minute of it. We’ve covered some great projects in this issue, with
personal favourites including the IZB Residence in Munich (pg.74) and Chifley Tower in Sydney (pg.62). We also have
some beautiful lighting installations covered in our Spotlight pages (starting on pg.36), all of which have been handled
by our very first intern, Femke. She’s been beavering away for the past few months learning the ropes of journalism,
but the time has sadly come for us to say our goodbyes and wish her well in her career. Some of you will have had the
pleasure of meeting Femke at the darc awards launch party held at the beautiful Dilston Grove in London. What a
wonderful backdrop to a great event (even if hats, scarves and mulled wine were required). It was brilliant to see so
many lighting designers venture out to support us and I’m looking forward to some exciting times ahead!

Editorial
Editor
Paul James
(p.james@mondiale.co.uk)
Deputy Editor
Helen Fletcher
(h.fletcher@mondiale.co.uk)
Editorial Assistant
Rob Leeming
(r.leeming@mondiale.co.uk)
Editorial Intern
Femke Gow
Advertising
Advertising Manager
Jason Pennington
(j.pennington@mondiale.co.uk)
Advertising Sales Executive
John-Paul Etchells
(jp.etchells@mondiale.co.uk)
Subscriptions
Amy Wright
(a.wright@mondiale.co.uk)
Production mondo*arc magazine ltd To subscribe visit
Waterloo Place www.mondoarc.com
David Bell
Watson Square or call +44 (0)161 476 5580
(d.bell@mondiale.co.uk)
Stockport SK1 3AZ
Mel Robinson United Kingdom mondo*arc, ISSN 17535875,
(m.robinson@mondiale.co.uk) T: +44 (0)161 476 8350 is published bi-monthly by
F: +44 (0)161 429 7214 Mondiale Publishing, Waterloo
Dan Seaton
www.mondoarc.com Place, Watson Square,
(d.seaton@mondiale.co.uk)
mondo@mondiale.co.uk Stockport, Cheshire, SK1 3AZ.
Chairman
Damian Walsh Printed by Buxton Press, Palace Subscription records are
(d.walsh@mondiale.co.uk) Road, Buxton, UK maintained at Waterloo Place,
Watson Square, Stockport,
Finance Director Annual Subscription rates: Cheshire, SK1 3AZ.
United Kingdom £30.00
Amanda Giles
Europe £50.00 Spatial Ltd is acting as our
(a.giles@mondiale.co.uk)
ROW £65.00 mailing agent.
Credit Control
Donna Barlow
(d.barlow@mondiale.co.uk)
024 DETAILS
[postcard]
The two paragons of cool, Factorylux and Light Collective, have teamed up to release a series of
natural light in architecture cards, exclusively available through mondo*arc and its sister title darc.
Each issue, Light Collective will explain the reason for their choice and then, inserted in each edition, will be
a limited edition print.
#4 James Turrell’s Skyspace
You can’t have a series about natural
light without including James Turrell so of
course he made our list with the Skyspace
installation concept. It is said (apparently)
that you never forget your first Skyspace
and that’s certainly true for Light Collective.
For Martin, it was the Space That Sees at the
Museum of Israel and for Sharon, the Deer
Shelter Skyspace at the highly acclaimed
Yorkshire Sculpture Park.
A Turrell Skyspace is a specifically
proportioned chamber with an aperture
in the ceiling open to the sky (a bit like
a contemporary Pantheon). Skyspaces
can be both autonomous structures or
integrated into existing architecture.
The Skyspace’s dominant feature is the
circular, elliptical, or square aperture
at the top of the room allowing
skylight or the night sky to be viewed
without peripheral distraction.
From the inside of the structure,
the viewer’s point of view is
focused upwards and inevitably
lured into contemplating the
sky as framed by the open
00 01 roof and the installations
O 00
are somewhere between
N indoor and outdoor as well
as between fantasy and reality. There
are now 82 Skyspaces worldwide (a full list
of locations can be found here: http://
jamesturrell.com/artworks/by-type/#type-
skyspace).
© Corbis The image used for this month’s postcard
is from the house of Jim Goldstein in
* Missing your Factorylux limited Los Angeles. The house was designed by
edition card? Then contact architect John Lautner in 1963 and this
hello@urbancottageindustries.com Skyspace is a free standing concrete room
for a replacement. built into the hillside and titled ‘Above
Horizon’. The Skyspace has two openings:
the central oculus, and the corner window.
The room is pre- programmed by Turrell
for shows at dawn and dusk and houses
5,000 LEDs that are not directly visible by
viewers. When the LEDs are activated they
wash the room with abundance of coloured
light amplified by the smooth white plaster
finished walls. The preprogrammed lighting
runs through a slow transitioning colour
sequence centring on the view of the sky.
Turrell has always embraced the fluidity of
light in nature in his work and constructed
his first skyspace in 1986 in the parking lot
of MOCA’s Geffen Temporary Contemporary.
There were no LEDs, just tungsten lamps
carefully placed behind wood benches.
This meant the sky, seen through a square
opening in the roof, was mostly blue but still
changed.
Many Skyspaces are commissioned by
museums; others are commissioned for
private art collections. Each one is created
for a specific location. Turrell questions
what exactly the collector is getting: “When
somebody buys a work of mine there is the
question, what is it they own? And in some
way I can honestly say that you own the light
that is passing through.”
Turrell’s titles for these spaces are
not arbitrary and are inspired from his
childhood experience. Raised as a Quaker,
the Skyspaces are meant to evoke the
quiet, even metaphysical private space of
a Quaker meeting with the wooden bench
seating that is often included within the
Skyspace interior, similar to those of his
childhood memories. Turrell recalls how
his grandmother used to advise him to “go
inside and greet the light.”
Half way through the series and we are
going you a chance to nominate the final
building that Factorylux will make into a
beautiful print like this one that goes out to
all mondo* arc readers. Fill in and return
the postcard for your suggestion to be
considered or talk to us via #MondoCards if
you want to pick up the conversation online.
www.urbancottageindustries.com/filament-
light-bulbs/low-energy-light-bulbs
www.urbancottageindustries.com/factorylux
www.lightcollective.net
 BEACON XL
OUTSTANDING FIXTURE LUMEN OUTPUT

Beacon XL is the latest edition to Concord’s award-winning

Beacon family. This impressive LED spotlight pushes the
boundaries of technology to provide up to 3300 fixture
lumens at 42W. Designed specifically for shop and display
applications, the stylish Beacon XL replaces CMI-T (HID)
luminaires and delivers a CRI of 85 (CRI 97 upon request).
Available in white and black, track (L1 / L3) and surface
mounted options – 3000K or 4000K, 12° narrow,
25° medium and 50° wide beam angle versions.
Beacon XL is also available in non-dimmable,
on-board dimming and DALI dimming models.

www.havells-sylvania.com

HS_Concord_Beacon_XL_Mondo_AD_NEW_LOGO.08.indd 1 30/01/2015 15:43

026 DETAILS

news headlines For the latest news stories, head

online: www.mondoarc.com

Novo Nordisk headquarters

wins Danish Lighting award Whitegoods appoints new Sales
(Denmark) - Novo Nordisk’s new and Marketing Director
headquarters in Bagsværd has won the (UK) - Whitegoods Lighting appoints
2014 Danish Lighting Award. Christopher Burridge as Sales & Marketing
Read the full story online... Director.

1 Read the full story online...

mondo*arc india
to launch in March
(India) - New quality publication for
designers and specifiers in India - joint
venture between creative lighting company
STIR and publishers of mondo*arc and darc.
Read the full story online...
2 3

International Lighting Design

Survey reveals growing
profession
(International) - ILDS reveals almost 1,300
lighting design practices now operating
throughout the world.
Read the full story online...
4 5

Lamp 83 expands
Design LED expands senior
(Turkey) - Istanbul-based lighting
manufacturer continues operations in new
management team
facility. (UK) - Following investment from Ikea
Read the full story online... Greentech, Wolfgang Andorfer joins
Design LED as Chief Sales and Marketing
Officer.
Read the full story online...
6

darc night launch

scan QR code to link to
the latest news online

party takes place

(UK) - International lighting design darc
awards is launched by mondo*arc and
darc magazines.
Read the full story online...
7

In pictures 1 Novo Nordisk campus is featured from page 54. 2 mondo*arc india to launch in March. 3 Christopher Burridge. 4 Lamp 83’s new facility. 5 International Lighting Design Survey
features 1300 lighting design practices. 6 Wolfgang Andorfer. 7 darc night launch party took place in London on February 5th.
 LIGHT IN NEW DIMENSIONS

LUCE VERDE SLIM

Harmony of light and nature

Our LUCE VERDE series provides a glimpse of nature
and an atmosphere of well-being. This is achieved due
to its structural surface, the luscious green and natural
feel of the moss integrated within the gentle LED ring
luminaires. The moss provided by art aqua is highly Pendant light Pendant light Wall lamp
Ø 1300 mm with canopy
durable and does not need to be maintained. The gentle
51.2“
softness and characteristic feel allows these large-
dimensioned luminaries to speak to all our senses and
simultaneously improve the room acoustics.

www.sattler-lighting.com
028 DETAILS

[darc awards]
mondo*arc and darc magazines, in collaboration with Light
Collective, launched their new international lighting design
awards at their darc night event in London on February 5th.

Pic: Caroline Sterzi

Pic: Gavriil Papadiotis

darc night, the launch party for the
darc awards, took place on February
5th at Dilston Grove in Southwark Park,
Bermondsey, London and featured a special
lighting scheme by Light Collective using
fittings from the darc awards commercial
partners. A Dark Source animation and
exhibition by Kerem Asfuroglu of Speirs +
Major also featured. Over 150 designers and
partners attended the event.
Paul James, awards director and publishing
editor of mondo*arc and darc, gave
a presentation explaining the awards
programme and darc night concept.
“With our database of over 1,000
international 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,” commented James. “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.”
Each award will be split into low and high
budgets, thus allowing the smaller projects
a chance to compete 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
judging 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,
 029

partners

www.darcawards.com will become 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 philosophy resulting in a
comprehensive online database of products.
Following the voting process the awards
via a series of light installations from
collaborations with lighting designers.
Currently the manufacturer partners
consist of Lucent, Megaman, Innermost, LSE
Lighting, KKDC, Concord, L&L Luce&Light
and Reggiani. 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.
Previous page Light Collective created a stunning
lighting scheme using Megaman’s Dim to Warm
LED lamps as a chandelier, Arturo Alvarez V floor
standing lamps (supplied by LSE Lighting) and
Reggiani’s Rios spotlights shining through the
windows. The Dilston Grove arts venue used to be
a chapel.
This page All the commercial sponsors were
represented among the 150-strong crowd.
Kerem Asfuroglu exhibited his Dark Source artwork
as well as showing an animated film.

ceremony will take place as part of darc
night in September 2015. This will be an
atmospheric party in a unique venue in
London. Imagine light art, street food,
lighting installations… this breaks all the
awards rules and will be unlike any other
awards ceremony to date.
Each commercial partner will be able to
show off the capabilities of their product
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.
www.darcawards.com
030 DETAILS

eye opener
Flylight, Studio Drift, Het Noordbrabants Museum, The Netherlands
This year marks the 125th anniversary of Dutch painter Vincent van Gogh’s
death. In memory of the artist, Het Noordbrabant’s Museum in the Netherlands
displayed Studio Drift’s Flylight exhibition curated by Yksi Ontwerp.
Flylight is a site-specific light installation that directly interacts with its
surroundings. It consists of delicate glass tubes that light up in an unpredictable
way. The light sculpture mimicks the behaviour of a flock of birds in
flight, symbolising the conflict between the safeness of the group and the
freedom of the individual.
While birds are the ultimate symbol of freedom, in a flock they move as one
single entity, creating mesmerising patterns. This flock behaviour is an example
of self-organisation, meaning that no single bird leads the flight. Amazingly
enough, each individual senses the speed and the direction of the group.
Flylight translates this flock behaviour into specially developed agent-based
software, meaning the patterns in which the installation lights up are not
pre-programmed, but have an interactive compound like a real flock of birds.
Nature was van Gogh’s and Studio Drift’s dominant source of inspiration and
forms a guide through the exhibition that will be on view until April.
www.studiodrift.com
031
032 DETAILS

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

SAN ZERO
A.C. Milan and Arup have presented
their expression of interest for the
redevelopment of a central area in Milan to
host the new A.C. Milan stadium.
The innovative venue will include a modern
stage for the home matches of the club
together with a hotel, a sports college,
restaurants, children’s playground, green
areas and spaces open to the city and
dedicated to public use.
The project, developed by Arup’s
architecture, urban planning and
engineering team in Milan will include
lighting design.
The new stadium will also provide a
unique experience to the spectators, with
particular attention towards families, with
cutting edge technologies and facilities. the best possible view from every location
The project has been developed with a in the stadium; high-tech solutions that will
fully holistic and integrated approach enhance the spectators’ experience before,
where all the design components have been during and after the matches; and special
carefully balanced around the spectator’s VIP facilities with lounges and spaces with
experience. Some of these innovative a direct view on the mixed-zone and on the
components include sight-lines analysed route from the athletes’ changing rooms to
and designed for every seat and developed the pitch.
by an Arup parametric tool that guarantees www.arup.com
 SILENT FLYING
OBJECT
UFO: FUTURISTIC LIGHTING SYSTEM
WITH SOUND-PROOFING AT HEART.
Creative sphericity. UFO opens up undreamt of possibilities to create
exceptional lighting. The components of this lighting system can be freely
combined with each other, allowing for limitless creativity, and can also
be combined with sound-proofing elements.

WWW.XAL.COM

UFO_inserat_mondoarc_210x310_RZ.indd 1 03.02.15 15:56

034 DETAILS
[drawing board]
ELEKTRAFYING DESIGN
Marriott Hotel Victoria Island in Lagos,
Nigeria is a new development that
celebrates the clean lines of modern,
contemporary design.
Due to open in December 2016, the lighting
concept by Elektra Lighting has been based
on an interior design scheme developed
by RPW Design and the architects from G1
Architecture.
The lighting scheme enhances that approach
throughout the public areas with a clean,
simple and minimal design, without fuss.
Luminaires are concealed where possible;
where it is not, minimal light fittings create
atmosphere without drawing attention to
themselves.
The lighting is warm and pleasing to the
eye, with a bright and inviting atmosphere
to welcome guests during the day. The
evening will see the colour temperature
drop to a more relaxed candlelight tone.
The lighting will enhance the space, and
complement the architecture and interior
design.
The landscape design, created by the
Gillespies design practise, features a
flattering lighting scheme to accentuate the
design and enhance it, especially after the
natural sun light hides beyond the horizon.
www.elektralighting.co.uk
 BP4, Canary Wharf, London. Architect: Kohn Pedersen Fox Associates.
Lighting Design: PJC Light Studio. Photography: GG Archard

www.kkdc.co.uk
036 DETAILS
[spotlight]
The latest projects with the wow factor from around the world.
Pics: James Brittain
PLAYING IN COLOUR
Toronto-based architectural firm RAW
transformed downtown Montreal into an
interactive kaleidoscope with its Prismatica
installation at the Quartier des Spectacles.
Comprising 50 pivoting prisms, each more
than two metres tall, Prismatica is one of
two installations selected by the juries of
the fifth annual Luminothérapie, a high-
tech public art exhibition that displays
artists’ and architects’ outdoor creations.
Luminothérapie lets local designers, artists
and architects build novel outdoor creations
as part of Montreal’s inclusion as a UNESCO
City of Design. The exhibition came in two
parts: a field of light and music running the
length of Place des Festivals along Jeanne-
Mance Street; and an animated projection
series that were played as a game on the
facades of seven buildings in the Quartier
des Spectacle.
RAW’s involvement marked the first firm
based outside of Quebec to participate
in the competition. For Prismatica, RAW
assembled a team of professionals from ap-
plied science, technology, art and architec-
ture fields to create the display. The prisms,
made of panels laminated with a dichronic
film, transmit and reflect every colour in
the visible spectrum, varying with the po-
sition of the light source and the observer.
Mounted on bases containing projectors,
as visitors wander among and manipulate
the prisms, they enjoy an interplay of light
and colourful reflections. For added affect,
as the prisms rotate, a variable-intensity
soundtrack comprised of bell sounds plays.
Prismatica invited people “to play, to have
fun and in doing so, forget about the cold,”
said RAW Director Roland Rom Colthoff.
“Luminotherapie is a great event that cel-
ebrates lively public space on a large scale
and speaks for the passion of design found
in a city like Montreal.”
www.quartierdesspectacles.com
www.rawdesign.ca
 037

IMMERSION CUBE
Aeolian Light, an outdoor exhibition held at
the Lowry Theatre, Salford Quays, was an il-
lustration of visual energy fields and objects
carried on the wind as they floated through
space occupied by lights. The idea was that
people could also move through the space,
causing eddies and disturbances, and in turn
affect the light installation.
A project by creative designers Squidsoup,
commissioned by Quays Culture and Uni-
versity of Salford, Aeolian Light developed
from existing research project Ocean
of Light, which looked into the creative
possibilities of 3D arrays of individually
addressable lights to create presence and
movement in physical space. The earliest
of these projects used a one-metre system
developed in Zurich called NOVA.
Squidsoup wanted to take this existing
system but alter it so people could walk
within the cubes and be surrounded by the
lights. The project gradually developed into
Aeolian Light, an entirely weatherproof
interactive system using 12,096 RGB LEDs
suspended in strands, each containing 21
points of light with 72 DMX universes - with
each one controlling eight LED strands.
Aeolian Lights tracked people using a SICK
laser scanner with infrared light to detect
movement so the visuals flowing through
the lights travelled in the same direction as
the wind.
Working with wet weather and trials with
unfamiliar technology as major setbacks,
Squidsoup created something that could
not only be viewed from a distance by its
audience but could entirely envelop people
in a floating cube of light and colour.
Pics: Joel Chester www.squidsoup.org
038 DETAILS
[spotlight]
Pics: Iwaan Baan
COSMIC CONTACT
Art museum and cultural centre Foundation
Louis Vuitton (FLV) launched the second
phase of its inaugural program with inter-
nationally renowned Danish-Icelandic artist
Olafur Eliasson’s Contact exhibition in Paris.
Designed by Canadian architect Frank Geh-
ry, the museum itself contains its gallery
spaces in cement blocks covered by curved
pieces of glass. Having served a cosmic pur-
pose for Eliasson’s first solo show in France
since 2002, this latest exhibition, Con-
tact enveloped the museum’s visitors in a
choreography of moving light and shadows,
transporting them into a simulation of the
darkness of outer space.
The route through the exhibition, revolv-
ing around two large-scale installations, is
derived from the geometry of the circle.
By bringing viewers into ‘contact’ with a
meteorite, the exhibition begins with a
gesture intended by the artist to expand the
horizons of imagination.
Firstly, Map for Unthought Thoughts takes
viewers to the centre of a semi-circle that
is extended to full circumference by a
mirror. Covered with black sandpaper, the
passageway arouses physical sensations of
disorientation and confinement.
Then, entering Contact (also the title of
the exhibition), visitors move on the sloping
floor as if traversing the top of a sphere or
planet.
The journey concludes with Big Bang Foun-
tain, an apparatus that reveales periodic
liquid flashes - referring back to Parallax
Planet, a piece which already established a
form of ‘contact’ with water by way of an
optical device at the start of the exhibition.
Finally, outside, World Illuminator uses a
sun-tracker installed above the upper shell
of the building to direct rays of light onto
the sphere Dust Particle - a multifacet-
ed, geometric sculpture suspended within
the building to immerse the visitors in a
multi-sensorial experience. This in turn
reflects speckles of light into the hall.
This unity of interior and exterior testifies
the relationship between humankind and
the universe - reiterating the exhibition’s
central theme.
This theme, and that of other cosmic
projects exhibited in the gallery, is echoed
in the architecture of the museum as the
Foundation Louis Vuitton structure gives the
impression of something continually chang-
ing with time and light, much like Eliasson’s
expansive exploration of perception and
space.
www.olafureliasson.net
www.fondationlouisvuitton.fr
 www.lgoledlight.com
/lgoledlight

LG CHEM /lgoledlight

OLED LIGHT
YOU CREATE, WE LIGHT
LG Chem's ultra-thin, ultra-light and flexible OLED light panels are the top performing OLED light solution
in the world. The nine models, which are available in two different color temperatures (3,000K/4,000K),
deliver state of the art quality with high CRI (>90) and achieve high luminance, high efficiency and a long
lifespan without emitting harmful UV or blue light.

320mm

113mm
50mm

140mm
200mm

213mm
320mm
100mm
110mm

55mm
50mm
53mm

100mm 210mm

One IFC, 10 Gukjegeumyung-ro, Yeongdeungpo-gu, Seoul, 150-945, Korea | +82 2 3773 3078

2015 02 AD 333_236 시안5.indd 2 2015-01-30 오후 2:11:38

040 DETAILS

[spotlight] SOVIET SWEDEN

Kate Wilkins, of lighting designer collabora-
tive Kate and Sam, has joined musician Matt
Johnson (The The) and visual artist and film
maker Johanna St Michaels to create The
Inertia Variations, a new light and sound
sculpture in Gothenburg.
Inspired by the Soviet-era Sukhov radio tow-
er in Moscow, the nine-metre-high sculp-
tural mesh of illuminated strands on the
roof of Gothenburg’s Röda Sten Konsthall,
evokes propaganda tools used by dictators
and revolutionaries to resemble creative
and communicative struggles. A subsequent
stage moves the tower inside the gallery,
where the viewer is immersed in narration,
soundscapes and music.
Wilkins described the project: “I’m fasci-
nated by using light’s influence on mood
and perception, and in this first stage we
reveal the inner surfaces only, in a white
with all warmth filtered out. The tower
looks as we had hoped, and very striking in
Gothenburg’s docks skyline.”
The Inertia Variations is the latest in a se-
ries of art-led side projects for Wilkins, her
previous credits including the opening of
Tate Modern in 2000 and the British Pavilion
at the Shanghai Expo in 2010.
www.katewilkins.com
www.thethe.com

SERPENTINE GAMES Pic: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015)
The first major UK exhibition by Argentini- Image © Sylvain Deleu

an artist Julio Le Parc sees the Serpentine

Sackler transformed with immersive light
installations and the artist’s signature inter-
active games.
Known for creating artworks that animate
and transform space through light and using
projected, moving, and reflected light to
create works of art in constant flux, Le
Parc’s playful exhibition transforms the
gallery and actively involves visitors. At the
heart of his practice is a desire to experi-
ment with our engagement and perception
of art, thereby altering our perspective on
the roles of the artist, spectator and the in-
stitution. Through his experimentation with
light, Le Parc creates a situation of visual
instability, in the work and in the viewer’s
experience.
The visitor’s participation in the exhibition
is both passive and active, with the design
reminiscent of an amusement arcade and
its numerous booths. While Le Parc’s light
installations offer an immersive experience,
his interactive ‘game’ works become a
place for activity.
www.serpentinegalleries.org Pics: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015)
www.julioleparc.org Images © READS 2015
lucent /ˈluːs(ə)nt /
adjective literary
glowing with or giving off light.
‘the moon was lucent in the background’

ProSpex® Axis
A range of recessed adjustable circular gimbal downlights www.lucent-lighting.com
— Available in both trim and trimless versions
— 2 sizes, Mini and Midi London | New York
— Antiglare snoot as standard
— Tapered or Long Snoot options
— Accepts LED, Low Voltage and Metal Halide light sources
— Multiple trimless installation kits available

Product shown
ProSpex Axis Midi Trimless with Long Snoot
042 DETAILS
[briefing]
ROGIER VAN DER HEIDE
We speak to the the new Head of Design and Marketing at the Zumtobel Group following his move from Philips.
Why did you move from Philips to Zumtobel?
When I joined Philips it was an interesting moment in time because of
the shift in lighting technology and the decisions that meant for a huge
business like them. I had a great time but I wanted to work with a 100%
lighting company. There are other lighting companies of course but
Zumtobel has always been involved in application working closely with
architects and lighting designers. I’m a lighting designer so this appealed
to me. I’ve known the Zumtobel family for quite a while and we have
had discussions in the past but there was always something getting in
the way. Now was the right time.
What is your role at the Zumtobel Group?
My role (Head of Design and Marketing) is a very influential one, heading
a small group of passionate people to drive the company forward. We
are in a process of transformation. Based from what I saw at Light +
Building we have some catching up to do. Ulrich Schumacher came on
board as CEO just over a year ago and it’s his goal to make Zumtobel
healthy and fit for a future that is faster. There will be an interaction
between my creative vision and what we structure in our programmes
to develop a cohesive portfolio of innovative products. The focus on LED
by most of the lighting industry has been energy savings. Most of the
big companies haven’t thought about what we can do with LED that we
weren’t able to do before if we combine it with other technologies. That
is starting to happen now and I want to be at the centre of that.
Do you have any specific goals for the Zumtobel Group brands?
I want to create an ecosystem rather than treat the three main brands
(Zumtobel, Thorn and Tridonic) as separate entities. The approach to
the market of the three brands has always been very different but by
working closer together we have an ideal opportunity to give the market
what it wants by simplifying the whole process. We are working on ideas
but it would be great if every Thorn product had really intelligent,
connected light for example. Why not? It doesn’t have to be just
the really high end brands that have this. Why can’t Zumtobel have
beautiful, aesthetic exterior products? There are no reasons why. I can’t
tell you it will definitely happen but it’s a wish of mine.
Will you continue to work with architects
and designers to develop products?
Yes, we will but we will also
work with new talent, both
from architecture and other
disciplines, to come up with
a new road map of ideas.
It’s easy to hire a famous
architect to design a
product, pay a fee and
then it gets specified on a
few of their projects. But
it’s not enough. We need
to build relationships in
which the continuous
exchange of ideas gets
established. For that you
need to show your passion.
Many large lighting companies
fail to make real choices. They try to
cover everything, they have huge complex catalogues but it’s too much
for architects who have to think about every element of the building. Of
course we still need catalogues but we should be talking with architects
and others to create real lighting solutions, to make catalogues more
relevant.
Will the policy of supporting lighting designers on projects continue?
Yes, we will always support lighting designers on projects where they are
involved. But of course in some markets there are no lighting designers
and in this case we can offer a service that includes lighting design. This
doesn’t compromise lighting designers. On the contrary, everything we
do at a high level grows the market for all. Lighting designers benefit
the more great lighting design is out there. The reaction from lighting
designers when the news came out that I was joining Zumtobel has been
very positive. There’s a lot of love out there for Zumtobel!
Why is Zumtobel opening a Lichtforum in Amsterdam?
Unlike previous Lichtforums, it will be a centre for experimentation. The
great architects and designers from the past like Frank Lloyd Wright,
Charles and Ray Eames were not scared to experiment with materials to
create and I think we need to be like this with light. We have to create
lighting solutions with experts from other disciplines like the arts,
science, healthcare or behavioural psychology or even app developers to
drive a programme of innovation. I want to make smart lighting that is
more holistically connected than just the driver and the lamp. I want to
connect to the rest of the world. I have no idea how to do that yet but I
want to find a way.
Why specifically Amsterdam?
It’s nothing to do with the fact that I live here! The language and travel
connection advantages are obvious but Amsterdam is so creative in
design, architecture and technology, with a lot of great talent. Many
great architects are based in the Netherlands like Mecanoo, MVRDV,
UNStudio, OMA etc. Hi-tech companies like Cisco, Google, Microsoft and
IBM have their European headquarters here. They are all now looking at
lighting and I am very interested in working with them. They don’t care
about the mechanics of manufacturing lamps but they can bring some
fresh ideas to the debate. Everyone at Zumtobel cares passionately
about lighting and we can bring our expertise to the table.
You had some time between leaving Philips and joining Zumtobel.
What did you get up to?
I was busy! I went back to my roots and did some small lighting
design projects. I also had more time to dedicate to this year’s
Amsterdam Light Festival (I’m the founder) which was very
rewarding. And I am involved in a documentary film about
light based on a theatre production of Prometheus: The Poem
of Fire by Alexander Scriabin that I’m working on. Scriabin
composed the piece about light in 1910 when electric
light had just been invented. There have been several
productions of it when lighting has been involved but this will
have a modern, fully immersive lighting interpretation. It will
be shown here in Amsterdam in December this year for the
International Year of Light.
www.rogiervanderheide.com
www.zumtobel.com
out of darcness comes light...
...welcome to darc night

a unique international decorative and architectural

lighting awards concept and event from featuring member of

partners

entries now being accepted on www.darcawards.com

044 DETAILS

[snapshot]
Paul Pamboukin has over 30 years experience working with light. He cut his teeth in the
theatre and was Chief Lighting Designer at the State Theatre in Pretoria before moving to
event lighting and then establishing Pamboukian lightdesign in 1990.

ALICE LANE HEALTH CLUB, JOHANNESBURG

CLIENT: VIRGIN ACTIVE GROUP

Alice Lane is the first in a new breed of exclusive health

clubs from Virgin Active. Gone are the downlights and
factory aesthetics and in arrives mood lighting and a warm
atmosphere. The red, off-centre stairs detract attention from
the cosy lounge space behind, while the cove-like speckled
sitting room offers personal lounge areas and individual interior
luminaries add definition to the lounge atmosphere.
Much of the lighting is bespoke design - luminaires are floating
disks and panels with differing colour temperatures in different
areas, used to not only demarcate the various activity
zones but complement different activities in an appropriate
ambience. Profile spotlights cast gobo dots onto the off-
shuttered ceiling above the pool and red LEDs in the handrail
define the edge of each step of the glossy staircase. Above,
seemingly floating irregular amorphic mirror disks mingle
the reflections from below, with the reflected light from the
different exercise areas announcing each space on the upper
floor. Scattered custom-made circular incandescent coloured
discs contrast with the matt black concrete roof structure
lined with service conduits to give mood over the open plan
cardio area. By contrast the muscle toning area is lit with lines
of cold white LED panels. Windowless glazed boxes against
the interior walls for body and mind work appear spacious and
intimate. The wide bands of LED lighting from floor to floor
are graphically decorative and functional. Fully programmable,
RGB colour control allows instructors to set the mood for their
specific session.

FIREWALKER, JOHANNESBURG
ARTISTS: WILLIAM KENTRIDGE AND GERHARD MARX
CLIENT: CITY OF JOHANNESBURG

As part of a public art programme, artist

William Kentridge and sculptor Gerhard
Marx coneptualised ‘Firewalker’, a three-
dimensional object. Moving around what
looks like a puzzle of a sculpture, viewed
from one of two specific points, the piece
resolves into two different images. Carrying
hot coals on her head, the Firewalker is
seen north while the miner can be seen
from the south. To ensure no shadows were
created and the images weren’t distorted
by blending of the black panels, the piece is
lit accordingly. To achieve this, three metal
halide projectors illuminate the sculpture
from the front and it is backlit with a metal
halide blue projector.
 045

SOUTHPOINT PROPERTIES,
BRAAMFONTEIN
ARCHITECTS: SILVIO RECH AND LESLEY CARSTENS

Southpoint Properties’ lighting concept

underscores the open white glass box
building with controlled splodges of fun,
brightly coloured, furniture; underlining
its minimalist feel through a basic rational
graphic statement. Using a single light
source for general lighting, the fluorescent
tube is applied as a standard 28W open
channel tube light and a 40W circline,
with the directional linear spacing of the
suspended tracks and rhythmic positioning
based on photometric calculations. The
cool white light on all floors is broken
by warm accent light over areas that
require a more intimate atmosphere. The
ground floor coffee bar has a raft of 60
spun lampshades with 5W CFL’s clustered
together, suspended at the same height to
mirror the counter. Above the customer
relations lounge custom-made pendants
with oversized glare-free reflectors create
their own ceiling. The same pendants
with additional 50W downlights illuminate
the table featured in the orange glazed
meeting room. The multiple fittings work to
complement the architectural aesthetics.

HILTON WINDHOEK, NAMIBIA

CLIENT: UNITED AFRICA GROUP
ARCHITECTS: WASSERFALL MUNTIN, WINDHOEK AND
MARTIN KRUGER

The hotel’s lighting features a glass pendant

chandelier, lit with blue and white LEDs
mimicking rain falling in the hotel’s double
volume concierge, while 1,000 suspended
diamond-like glass crystals lit by recessed
RGB LED downlights are programmed to
project warm amber colours before fading
through to greens, blues and midnight
blue. In the hotel foyer red light randomly
appears and disappears with the movement
of the lifts. LED strips placed in the
underside of each tread create a soft warm
light up the staircase, while a gentle strip
wash from a narrow band of LEDs light the
carpets. Bedrooms are entered through a
wall of warm light using full-length light
boxes, while headboards use light boxes
with low bright LEDs that fade down.

PAMBOUKIAN LIGHTDESIGN
• DIRECTOR: Paul Pamboukian • HEAD OFFICE: Johannesburg, South Africa • SATELLITE OFFICES: New York
and Zurich • ESTABLISHED: 1990 • EMPLOYEES: Six • CURRENT PROJECTS: Alice Lane High-rise Precinct,
Johannesburg; Discovery Concept Store, Cape Town; Eastgate Mall, Johannesburg; Falcons Sculpture, Yas
Island Abu Dhabi; Holocaust and Genocide Museum, Johannesburg; Hotel on Garapan Island, China; Le
Chaland Resort, Mauritius; Mandela Museum, Johannesburg; Menlyn Maine Central Square, Pretoria; PAIH
Office Building, Nairobi; Regent Hotel, Doha; Steyn City Mixed Use Development, Johannesburg

www.ppald.com
046 DETAILS
[lighting talk]
COULD YOU TELL ME...
…what made you become an interior designer?
I am one of those lucky people who is actually doing what they
wanted to do from about age 12 ... and is still loving it! I have
always enjoyed making the environment around me better and used
to lie awake at night redesigning friends’ houses. I’ve now actually
designed many of them in reality – for example our Addison Gardens
project is the house of an old school friend. I am also a perfectionist
and a bit of a control freak – I think those are actually good qualities
for an interior designer – it means I can’t stop until I feel the client is
happy!
... how important is lighting to your designs?
Lighting is crucial. It doesn’t matter what you do with a space, if the
lighting isn’t right - or the effect of the daylight upon the colours
and materials used - it won’t be as good as it should be. I love
atmospheric lighting, which conjures up a mood rather than a task,
and I like a space to feel a certain way, whether that is bright and
breezy or dark and moody. I don’t like bland.
... why is spending time thinking about and working with light
important to you?
After many years in commercial design at MoreySmith, where we, as
the designer, were generally in control when it came to the lighting,
I am finding that lighting for residential projects is more subjective.
What I think is the best lighting effect or level does not necessarily
suit the client - some people like bright houses, some people (like
me) err towards dramatic gloom! So, part of my job is to discover the
preferences of each client and tailor the lighting to them, while still
making the design work as a whole.
... about the role lighting plays in the light of the city? How do you
contribute to that?
Lighting plays a big role, and for me the focus is on houses in London
[1]. For the most part this is under individual control and I love the
random and unplanned nature of the residential scene. Do you ever
gaze out over a rooftop or street scene at night and wonder about
the rooms that you want to be in and those you don’t? I want to add
more of the ones you do!
... how do you approach lighting a building through architecture?
In older buildings I like to keep things soft, mixing general lighting,
which you can dim according to taste, with accent lighting, which
adds a certain feel on its own. This brick wall forms the back of the
Photo: Siobhan Doran Photography
This issue we talk to Jennifer Hamilton,
founder of interior design practice The
Vawdrey House.
old house we extended in Tunbridge Wells [2] and looks great with
antique brass swan necks imitating the old gas lamps.
In more modern spaces, I love the way concealed lighting adds an
ethereal glow... like this library space for a house in Brook Green
[3].
... about the best and worst illuminated spaces you have visited?
There is a pub in my home town which has just spent a fortune
refitting itself – we waited eagerly for the result, hoping this would
be a lovely cosy gastro pub for a family Sunday lunch. But no...
despite a selection of Farrow & Ball paints and a huge array of
different and not totally awful light fittings, which I imagine on paper
would have looked like a design-led approach, I think that the heights
are all wrong, and everything is too bright and cold. During the day
there is no atmosphere at all, and at night it’s like sitting in the
middle of an empty front room with the curtains open and the ‘big
light’ on. Also, surprisingly a lot of hairdressers have awful lighting
with sharp spotlights right over your head, leaving horrible shadows
under the eyes. On a more positive note, I love cosy low-ceilinged
pubs with log fires and candles. The Talbot in Somerset has it just
right in their bar... or our recent project for Cullenders Deli in
Reigate [4], where industrial wall lights bounce off the tiled walls,
creating both a utilitarian and welcoming feel at the same time.
... about the importance of shadows and the balance of darkness
and light in your work?
Sometimes the change from one element to another is what makes
both even better. In a soon to be completed project, we are installing
a 4m long tunnel between two cavernous basement spaces. Lined
with black, sandblasted oak panels to walls and ceiling and lit only by
a concealed LED at the top, this will be an incredibly dramatic space,
which will contrast with and enhance the sense of light and space in
the rooms either side.
In another house in Barnes, London [5] you leave a traditional
entrance hall with panelled stairs - just pendant lighting and north
facing daylight filtering through a frost glass door - and sliding back
the bookshelf step into a bright open-plan living space with full-
height glazing by day, and by night a 7m concealed light-raft, which
casts a soft light to the length of the space and down the soft linen
curtains.
www.thevawdreyhouse.com
Photo: Siobhan Doran Photography
 047

Photo: Siobhan Doran Photography

Photo: Siobhan Doran Photography

Photo: Siobhan Doran Photography

048 DETAILS

IT’S A FAMILY AFFAIR

From the days of spotlights and Par lamps to the modern day lighting we see today Michael Dunk
has experienced it all. Today, he remains at the core of his family run business Lucent, which
recently partnered with the darc awards, and sees no reason to call it a day anytime soon.
Words by Jill Entwistle.

Lighting has become an awful lot more complicated since Michael Dunk started out as
a salesman with Concord Lighting in 1972. “With the exception of Derek Philips there
were no lighting designers in the UK back then,” he said. Everybody used a spotlight or a
downlight and chose a Par lamp with a certain beam spread. That was it.”
Any expertise resided with manufacturers. Dunk likens calling in on leading designers
such as Fitch, to a doctor’s consultation: “We would advise on lighting. There were no
lighting designers and lighting wasn’t a big consideration.”
But behind the scenes were the seeds of the lighting design profession as we know it
today. Barry Hannaford and Maurice Brill, to name just two nascent talents, were in
Concord’s schemes department carrying out the plotting and lighting design on drawing
boards (no CAD yet, of course). Dunk, and Lucent, the company he founded in 1990,
have followed the development trajectory of the modern lighting profession every step
of the way.
Rising to national Sales Manager at Concord in 1978, Dunk left in 1984 to become
Managing Director of a start-up lighting company called Lighting Workshop, partially
backed by Concord and based in Covent Garden, London. The aim was to be a design
and supply company, with Maurice Brill running the design side. The company quickly
became associated with what was then a new source, low voltage, tungsten halogen.
“I quickly saw the opportunity for low voltage lighting,” said Dunk. “The only people
to do it properly were the French at the time, and the first company to do it properly
was Mole Richardson, the stage lighting specialist. They teamed up with GE early on,
the first company to bring out the dichroic lamp, and quickly came out with a range of
downlights.”
Having put together an English range from French products, and subsequently US
products, LW rapidly made a name in retail, supplying the likes of department stores
House of Fraser and Debenhams, along with Bodyshop. LV sources had a bit of a bumpy
049
050 DETAILS
Left The Dolce Vita shopping centre. Right The Plenilunio shopping mall in Madrid.
ride in the early days and Dunk sees a
lot of parallels with some of the issues
surrounding LEDs as they now bed in as a
mainstream source.
“There were a lot of challenges in low
voltage - contractors running bell wire from
the transformer to the fixture, or running
ten fittings from one transformer. And like
LEDs, heat was another issue.”
Crucially at this time, Dunk began making
regular marketing visits to the US. As well
as sourcing product, the aim was to grow
the company’s customer base of North
American lighting consultants. Independent
lighting design was firmly established and
recognised in the US, unlike the UK, where
it had only begun to develop in the early
to mid-80s, when Jonathan Speirs set up
Lighting Design Partnership with Andre
Tammes, and consultancies such as Lighting
Design International and Equation came
into being.
With Lighting Workshop acquired by
Courtney Pope in 1988 Dunk decided to
strike out on his own in 1990 to set up
Lucent Lighting. Although manufacturers
still designed the lion’s share of lighting
schemes, his experience in the US had
left him with the firm conviction that he
only wanted to deal directly with lighting
designers, and that the new company would
steer clear of the design and supply route.
“I focussed on this area because lighting
designers do quality work,” Dunk said. “I
was also very conscious that to be different
to my competitors, I would have to have
an edge and that edge would be dealing
with lighting designers, particularly those
who were working internationally. My aim
with Lucent was to cultivate the contacts
I’d made in the States, especially New York
when at Lighting Workshop.”
In the early years Lucent acted as a UK
distributor for German and US lighting
companies such as RZB, RSL, Hess and
Ardee, but also designed and began
manufacturing a limited range of low
voltage and metal halide downlights, the
product area that has always been at its
core.
Initially the company became particularly
involved with shopping centre projects,
specified by LDP and LDI among others. The
breakthrough came with what turned out
to be a long association with New York-
based lighting designer Theo Kondos, who
specified Lucent for a series of malls in
Spain and Portugal.
“He was the guy who helped us in business,
in a big way. He recognised in Lucent our
ability to recreate his ideas. We did a
shopping centre in Spain with him in 1991
- a year after we’d started the business
followed rapidly by two more. We then did
around five a year for eighteen years with
both Theo and other consultants. Before
the recession in Europe we completed
nearly 100 projects.”
Another seminal figure was Dallas-based
Craig Roberts Associates - Dunk having
by now ventured further afield in the
States - whom they first worked with on

Some 10,000 ProSpex tiltable downlights were supplied to the Atlantis Palm hotel in Dubai. The initial product rang was designed specifically with the hotel in mind.
the Tommy Hilfiger store in London’s Bond
Street. It was the association with CRA
that led Lucent to switch from distribution
to manufacturing with the launch of the
first ProSpex lockable, tiltable downlights
in 2007. The initial product range was
designed specifically to win The Atlantis
Palm hotel project in Dubai, (pictured
above) with some 10,000 fixtures supplied.
“I owe a lot to Craig Roberts. He basically
couldn’t find any European fixtures that
had features that compared to American
products. At the time he was probably
right. Everything here was very stylised.
With the Americans it was the Edison Price
ethos - dark light reflectors, adjustability,
locking on the fixtures and locking rotation
so they could focus a job properly. He
couldn’t find any European company that
was doing that so we started building
fixtures for his international work.”
From this point the company created an
international distributor network and now
has a presence in more than 40 countries.
Lucent also developed its second major
range, ProSpex Plus square pyramidal and
round conical downlights, as a result of
CRA, which was specifying for 22 hotels in
Mecca (the Jebal Omar development). It
meant a huge investment in tooling.
“Once again he couldn’t find any European
fixtures with the square pyramidal look
and with lockable tilt and lockable rotation
built in. So we did it. We’ve completed
five of those 22 hotels already - around
16,000 downlights. We have to build all the
adjustability into the downlight itself and
enable it to be installed from below. That’s
the challenge.”
Lucent also has a long-term relationship
with New York-based Schwinghammer
Lighting. “The first designers ever to
design a gimbal slot system in the ceiling,
which they created in the late 1980s,”
said Dunk. “We started building gimbal
fixtures to Amercian specifications.”
The company also developed its pinhole
downlight for Schwinghammer. Again
051
it was US consultants highlighting the
deficiencies of European fixtures and driving
improvements.
“Europeans at the time weren’t conscious
of glare control, lamps were very close to
the bottom of fixtures and very apparent
to the eye,” said Dunk. “Additionally there
was no provision for adding louvres and
media accessories. The Americans also
don’t like anything that projects down
below the ceiling like pull-down downlights.
They taught us how to do trimless fixtures.
“I would say 70-80 per cent of our range is
American driven - all our gimbal fixtures,
pinhole downlights, the whole range
of square and round downlights,” Dunk
continued. “We owe the American influence
a lot and its particularly rewarding that the
UK and international lighting designers have
also taken to the fixture designs.”
Dunk likes doing quality projects and seems
to positively relish being pushed by the
most discerning lighting designers to get it
as perfect as possible. “I like to work with
052 DETAILS
Above Llft The Dior store in Milan was a major turning point in the retail sector for Lucent. Top The Lucent team with Michael Dunk and wife Valerie centre. Above
left The Polo Ralph Lauren project in New York - central to the company’s move into retail. Above The Principe Pio shopping centre in Madrid.
lighting designers who are very exacting,
those who will focus the job themselves at
the end and appreciate the features and
benefits we have built in.
“Our products are of a quality and
appearance to satisfy the high-end market.
I much prefer to supply this area globally
because we are less subjected to the ups
and downs of the economy.”
At 68, you might think Dunk was
contemplating putting his feet up but he
and his wife Valerie are as involved as ever
in growing the business, whose turnover
is currently growing around ten per cent a
year.
In 2014 Lucent moved to bigger offices with
a showroom in north London and a larger
warehouse and technical offices in Enfield,
expanding from 330 sq metres to more than
1,100 sq metres. The company also invested
heavily in creating its own photometric
facility, with further upgrades to come,
and has IES files for the majority of its
luminaires. Most ambitiously of all, last year
it launched its fittings into the US market.
“It was never my intention to start selling
products in the US because there are so
many companies there already,” said Dunk.
“However, in my experience the high-end
retailers typically want one manufacturer
to supply all their requirements globally.
So 18 months ago we bit the bullet and
put the majority of our downlights into
testing and got ETL [proof of compliance
with North American safety standards]. We
delivered our first light fittings in February
2014 and we have already exceeded all our
expectations.”
Lucent recently also supplied the Polo Ralph
Lauren flagship store in Manhattan (pictured
above) and several Mulberry, Tiffany’s and
Dior outlets. “So we’re starting to appear on
their radar,” continued Dunk. “The lighting
designers who’ve used us internationally
are starting to use us there as well. We’re
probably the only UK company that’s really
concentrated on the US market for so long.
Around 60 per cent of our business now
comes out of the States.”
A fair number of lighting companies have
fallen by the wayside over the 25 years of
Lucent’s existence, and family businesses
are notoriously prone to staleness and
stagnation. The company’s winning formula
is straightforward - remaining true to its
founding principles, constant reinvestment,
dedicated staff and an excellent
management team, a vigorous approach to
innovation and business opportunities, and
the willingness to consistently go the extra
mile - lighting designers are an exacting
bunch when it comes to getting a precise
specification backed up by highly responsive
service. Some 40 per cent of the fixtures
Lucent supplies are standard products that
have been customised. “You have to be
flexible,” said Dunk.
When Lucent started out there were just
four people. There are now 45 in the UK
alone. Dunk is quick to pay tribute to the
backing and support he’s received over the
past 25 years from his wife Valerie. “She
has been the ying to my yang. Constantly
making me think about and consider
decisions and directions we have taken, she
and has certainly been a great partner.
“I’m pleased with the way it’s going but you
have to bear in mind we are still a family
business, it’s our own money. We enjoy what
we are doing. While we’re still actively
running the business and enjoying it, we’ll
carry on.”
www.lucent-lighting.com
 ACCREDITED
SUPPLIER

S O L U T I O N S
054 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK

CIRCULATING
COLOUR
The Novo Nordisk Campus consists of two central buildings that are
each architecturally unique in their own right but together form the
framework of the Danish company’s new headquarters.
 055

Pics: Søren Aagaard and Christina Augustesen, Grontmij

©Novo Nordisk
056 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK

The atrium and staircase in the NN1 building. The lighting concept for the atrium has been focused on emphasising people’s movements and a flow upwards
through the building, as well as on creating lighting that is of an understated nature yet provides grand visual effects.

Novo Nordisk’s new headquarters in
Bagsværd, Denmark, is the work of Henning
Larsen Architects. Home to the company’s
top management, along with around 1,100
administrative staff, the architecture
consists of two office buildings sited in a
verdant and inviting landscape, inspired
by the Danish forests and landscapes. The
largest of the two buildings, NN1, is six
stories tall, is characterised by a cylindrical
massing and comprises a central atrium,
auditorium, offices, meeting rooms, quiet
rooms, a library, classrooms, kitchenettes
and canteen.
The complexity of the insulin molecule was
a source of inspiration for the architecture,
with the helix structures of the insulin
molecule creatively informing the building’s
rounded form, the atrium’s spiralling inner
staircase and the dynamic white balconies.
The architecture aims to create a lively
space for people to meet, where synergies
can be created between employees across
different fields, and with guests from
around the world.
The second building of the campus, NN2, is
a wedge-shaped, four story edifice. It has
an independent formal expression, yet still
relates to the circular-formed neighbouring
building. The wedge-shaped geometry of
NN2 creates a coherent complex of lower
polygonal buildings, which help stage a
focal point – the circular main building,
NN1.
From early on in the design development,
it was Novo Nordisk’s desire to bring in
a lighting designer and so the lighting
design team at Grontmij were heavily
involved from start to finish. Based on
the architectural visions of Henning
Larsen Architects and Novo Nordisk, while
considering the diverse functional and
aesthetic needs, Grontmij’s lighting design
team created a lighting strategy that
ensured an overall lighting concept and
hierarchy for the integration of various
lighting elements.
The lighting strategy has worked to
accentuate the building’s iconic significance
and identity, the movements and flows
throughout the building, and its appearance
and functionality during the daytime,
evening, and night time hours. So strong
was this strategy that Novo Nordisk was
awarded the 2014 Danish Lighting Award.
This was achieved through a varied
lighting environment, where orientation
and movement are controlled by vertical
lighting, low placement of lighting
elements, and variations in lighting levels
and lighting characteristics (for example,
variations in direct and diffuse lighting, as
well as colour temperatures).
Anne Bay, Jury Chairman and Director of
the Danish Lighting Center commented:
“The lighting is integrated and enhances the

JAPANESE
Henning Larsen Architectsの設計による
ノボ・ノルディスクの新 本 社はデンマークの
Bagsværdにあります。経営陣に加え、約1,100
人の事務担当者と設計担当者が働くこの２つ
のオフィスビルは、デンマークの森を望む緑豊
かで魅力的な場所に立地しています。2つの建
物のうち大きい方はNN1と呼ばれ、6階建ての
細長い円筒状の建物の中心に中庭、講堂、事務
所、会議室、静寂室、図書室、学習室、給湯室、
食堂が作られています。 もう一つの建物NN2
は、くさび型の４階建てで、隣りの円筒状のビル
からは独立した印象ながら一体感のある設計
となっています。 このNN2は背の低い多角形の
建物に接触する形で建てられており、 それが焦
点、つまり円筒状のNN1をメインに視線の流
れを作っています。設計を担当したGrontmijチ
ームは設計の早い段階から深く関与していまし
た。Henning Larsen Architectsとノボ・ノル 层建筑，整体独立而对称，但仍与圆形的相 ments, le NN1, comporte six étages caractérisées par
ディスクは、 この本社ビルの設計コンセプトとし 邻办公楼相联系。NN2 的楔形几何结构为较 une volumétrie cylindrique comprenant un atrium cen-
て、多岐にわたる機能と見た目の美しさを考慮 低的多边形建筑营造出一个连贯的综合体， tral, un auditorium, des bureaux, des salles de réunion,
し、Grontmijの照明を採用しました。Grontmij 帮助逐级强调一个焦点——也就是圆形的主 des salles de repos, une bibliothèque, des salles de
の照明設計チームは多岐にわたる照明を多層 建筑 NN1。在设计开发的早期，Grontmij 的 classe, des kitchenettes et une cafétéria. Le NN2, le
的かつ一体感を損なわない戦略的な照明とし 团队即开始积极参与其中。基于亨宁拉森建 deuxième bâtiment, est un édifice en pointe de quatre
て設計しました。 筑师事务所和 Novo Nordisk 强调多元功能和 étages. Il montre un achèvement formel indépendant,
美学需求的建筑学愿景，Grontmij 的灯光设 mais s’agence tout de même au bâtiment circulaire
CHINESE 计团队所设计的灯光策略确保了整体的灯光
理念和多种灯光元素的整合层次。
voisin. La géométrie en pointe du NN2 crée un complexe
cohérent de bâtiments polygonaux moins élevés et of-
诺和诺德 (Novo Nordisk) 的新总部位于丹 fre un point de convergence avec le bâtiment principal
麦的 Bagsværd，由亨宁拉森建筑师事务所
(Henning Larsen Architects) 担纲设计。作
FRANÇAIS circulaire, le NN1. Dès le début de l’élaboration de la
conception, l’entreprise Grontmij établit une ferme
为公司高层和大约 1,100 名管理行政人员的 Le nouveau siège de Novo Nordisk à Bagsværd au Dane- implication. L’équipe de conception de l’éclairage de
办公处所，该建筑包含两栋办公楼。受到丹 mark, est l’œuvre du bureau d’études Henning Larsen Grontmij imagina une stratégie assurant un concept
麦森林景观启发，该建筑绿荫环绕、风景 Architects. La direction de la société et environ 1 100 d’éclairage général et une hiérarchie pour l’intégra-
怡人。两栋办公楼中较大的一栋 NN1 高六 membres du personnel administratif profitent de l’ar- tion des différents éléments d’éclairage, basé sur les
层，呈圆柱形，包含一个中庭、礼堂、办公 chitecture de deux immeubles de bureaux lovés dans visions architecturales de Henning Larsen Architects
室、会议室、静室、图书馆、教室、厨房和 un paysage verdoyant et accueillant, inspiré des forêts et de Novo Nordisk, tout en tenant compte des divers
餐厅。第二栋办公楼 NN2 为一座楔形的四 et des paysages danois. Le plus grand des deux bâti- besoins fonctionnels et esthétiques.
 057

Left Atrium, Building NN2 - the dynamic lighting scenarios in the skylight uses warm white light, amber shades, and light in blue-green-purple shades.
Right Building NN1 - the canteen lighting; lighting of the atrium’s smaller light-zones; lighting of the auditorium in a blue scene.

architecture and the building’s functions contractors, and suppliers, and the project- blue light. The parapet illuminated in warm
without drawing attention to itself. specific solutions were tested in onsite white light contrasts naturally with the pale
This project exemplifies the excellent mock-ups. Based on the lighting strategy, blue.
developments in contemporary lighting concepts were then developed for the At the bottom of the atrium, smaller light-
design, where it is not the light itself that is atrium, auditorium, library, meeting rooms, zones are created within the greater space
eye-catching, but the architectural totality canteen and kitchenettes. with the help of floor lamps, table lamps
and the atmospheres that are created The cylindrical form of the atrium is and directed light from pole-mounted
by the light,” highlighted by the vertical lighting of the luminaires. These lighting elements create
The strategy developed by the team at wall surfaces in the atrium’s circulation a more intimate ambiance and smaller
Grontmij has ensured sustainable lighting by zones, whereby the shape of the atrium momentary spaces that can be used for
prioritising illumination levels, placement is heightened. The circular staircase has short meetings and briefer stays. The design
and control. The lighting strategy has been lighting integrated into its handrail, which also offers variations in light zones and
an important design parameter throughout illuminates the wood treads in a manner lighting atmospheres, which simultaneously
the entire design and construction process, that reflects the light in a warm glowing support the functional and aesthetic needs
and the detailed planning followed the colour. The handrail naturally provides of the people using the building.
same lighting strategy as well. Moreover, it a safeguard, but its built-in lighting also Throughout the entire design process
has been a crucial factor in interdisciplinary illuminates the horizontal tabletop surfaces the focus remained on integrating the
understandings and communications. in the break out spaces located along luminaires into the architecture and
The design and implementation of the balconies. This safeguarding element avoiding glare so that light is primarily
the lighting was carried out in close becomes a luminous parapet that flows and visible when it hits the various surfaces.
collaboration between the client, lighting wraps its way around the glazed roof of The lighting system has been implemented
designers, architects, interior designers, the atrium, which is accentuated by pale using energy efficient LED light sources.

DEUTSCH
Der neue Firmensitz von Novo Nordisk in Bagsværd,
Dänemark, ist die Arbeit von Henning Larsen Architects.
In dem Gebäude ist neben dem Verwaltungspersonal mit
rund 1.100 Angestellten die oberste Führungsebene des
Unternehmens untergebracht. Die Architektur besteht aus
zwei Bürogebäuden, die in einer grünen und einladenden
Landschaft liegen und durch die dänischen Wälder und
Landschaften inspiriert wurden. Das größere der beiden
Gebäude, das NN1, hat sechs Etagen, kennzeichnet sich
durch einen zylinderförmigen Komplex und umfasst ein
zentrales Atrium, ein Auditorium, Büros, Konferenzräume,
Ruheräume, eine Bibliothek, Unterrichtsräume, kleine
Küchen und eine Kantine. Das zweite Gebäude, das NN2,
ist ein keilförmig geformtes Bauwerk mit vier Etagen. Es
hat einen unabhängigen formalen Ausdruck und ist den-
noch verbunden mit dem kreisförmig geformten Nach-
bargebäude. Die keilförmige Geometrie des NN2 schafft
einen kohärenten Komplex kleinerer, polygolaner Gebäude,
die dazu beitragen, einen Blickpunkt zu inszenieren – das
kreisförmige Hauptgebäude NN1. Von Beginn der Desig-
nentwicklung an war das Team von Grontmij stark beteiligt.
Auf Grundlage der architektonischen Visionen von Henning
Larsen Architects und Novo Nordisk hat das Beleuch-
tungsteam von Grontmij unter Berücksichtigung diverser
funktioneller und ästhetischer Bedürfnisse eine Beleuch-
tungsstrategie geschaffen, die ein komplettes Beleuch-
tungskonzept gewährleistet und für eine Hierarchie bei der
Integration der verschiedenen Beleuchtungselemente sorgt.
ITALIANO
La nuova sede di Novo Nordisk in Bagsværd (Danimarca)
è stata realizzata da Henning Larsen Architects. Sede del
top management della società, insieme ad un personale
amministrativo di circa 1.100 persone, l’architettura si
compone di due edifici per uffici situati in un invitante
paesaggio verdeggiante, ispirato ai boschi e ai paesaggi
danesi. Il più grande dei due edifici, NN1, è alto sei piani,
è caratterizzato da una volumetria cilindrica e comprende
un atrio centrale, un auditorium, degli uffici, delle sale ri-
unioni, delle hall, una biblioteca, delle aule, delle piccole
cucine con angolo cottura e una mensa. Il secondo edifi-
cio, NN2, è di quattro piani ed è a forma di cuneo. Esso
presenta un`espressione formale indipendente, ma si rifà
ancora agli edifici circostanti che sono di forma circolare.
La geometria cuneiforme del NN2 crea un complesso coer-
ente di edifici poligonali piú bassi, che aiutano a mettere in
risalto l’edificio centrale circolare NN1. Il team di Grontmij
è stato fortemente coinvolto sin dall’inizio dello sviluppo
della progettazione. Sulla base delle visioni architettoniche
di Henning Larsen Architects e Novo Nordisk, tenendo conto
delle diverse esigenze funzionali ed estetiche, il team di
progettazione luci di Grontmij ha creato una strategia di
illuminazione che garantisse un concetto di illuminazione
generale, ponendo maggior attenzione all’integrazione di
vari elementi di illuminazione.
ESPAÑOL
Las nuevas oficinas centrales de Novo Nordisk en Bagsværd,
Dinamarca, es obra de los Arquitectos Henning Larsen.
Siendo el lugar donde se encuentra la alta gerencia de la
empresa junto con alrededor de 1.100 empleados adminis-
trativos, la arquitectura está compuesta de dos edificios de
oficinas ubicados en un verde y acogedor paisaje inspirado
en los bosques y paisajes Daneses. El edificio más grande
de los dos, el NN1, tiene seis pisos y se caracteriza por
contar con una distribución cilíndrica y está compuesto de
un patio central, auditorio, oficinas, salas para reuniones,
salas de descanso, una biblioteca, salones para capacita-
ciones, cocinas y un bar. El segundo edificio, el NN2, tiene
forma triangular y es de cuatro pisos. Cuenta con una ex-
presión formal independiente, aunque aún guarda relación
con el edificio vecino de forma circular. La geometría en
forma triangular del NN2 crea un complejo coherente de ed-
ificios más bajos con forma poligonal, lo cual ayuda a es-
tablecer un punto de fuga - el edificio principal circular, el
NN1. El equipo en Grontmij estuvo fuertemente involucrado
desde un comienzo en el desarrollo del diseño. Basándose
en las visiones arquitectónicas de Henning Larsen Archi-
tects y Novo Nordisk, a la vez que consideraba las distintas
necesidades funcionales y estéticas, el equipo de diseño de
iluminación de Grontmij creó una estrategia que aseguraba
un concepto general en iluminación y una jerarquía para la
integración de varios elementos lumínicos.
058 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVÆRD, DENMARK
The lighting design of the NN1 building’s atrium. The tectonics of the glazed roof are accentuated by pale blue light, framing the ‘heavens’ of the atrium. The
parapet that is illuminated in warm white light and the steam of pale blue light contrast each other naturally.
Furthermore, the lighting system has used
luminaires that shield the light sources
in order to avoid visual discomforts of
glare to the greatest extent possible and
the luminaires’ light distribution, colour
temperatures and colour renderings have
been selected based on the functional
needs. For example, in the canteen, library,
and meeting rooms, spots with a colour
temperature of 3,000K, a Ra-value of +90
and a narrow beam light distribution have
been utilised. This was done in order to
create direct light that gives high-quality
colour rendition on the surfaces of the
tables in these areas. The direct light and
the warm colour temperature support daily
functions, as well as supporting direct
communications between the people using
the building.
The direct light has been combined with
linear recessed luminaires and wide-beam
spots (with a colour temperature of 4,000K
and a Ra-value of +80) for the wall lighting
and general lighting; this helps frame the
various spaces and transitional areas. The
combination of diffuse and direct light
supports visual comfort, as well as one’s
experiences of the spaces, forms and
textures.
The second building of the Novo Nordisk
Campus, NN2, offers a spectacular
sculptural atrium, offices, meeting rooms, a
canteen, and a diversity of ancillary spaces.
Similar to NN1, this building’s focal point
is its atrium, which visually and physically
connects the four stories and manifold
functions. The atrium has been designed
with 50 skylight baffles that poetically
disperse daylight into the space and the
building’s core. The design and direction
of the skylight baffles, influence the play
of light and shadow taking place in the
building throughout the day and across
the year. Daylighting’s dynamic behaviour
juxtaposed with the design of the electric
lighting’s intensity, direction, and colour
temperature help to create the appearance
of changing ‘ornamentation’ in the skylight
baffles, as well as in the atrium and its
adjacent spaces. On the occasions when
daylight is insufficient – such as evening
hours and the winter months – the electric
lighting comes to aid.
The concept of the electric lighting involved
creating lighting that partly supports the
daytime lighting during periods of limited
natural light, and partly contributes to
the general electric lighting. Likewise,
the electric lighting has been designed to
accentuate the tectonics of the skylight
and to create a welcoming and exciting
atmosphere in the atrium as a whole.
The electric lighting has been planned
using ten different lighting scenarios;
each programmed with a specific dynamic
lighting configuration. The different colour
shades shift in a slow tempo, characterised
by a soft and gradual transition from one
shade to another. Most of the scenes work
with white light nuances, which span
a spectrum from bluish light to neutral
white light, and finally to warm light in
the form of dark golden hues. The scenes
are programmed to align with the daytime
lighting’s diurnal and seasonal rhythms, as
well as to demarcate special holidays.
www.lighting.grontmij.dk
PROJECT DETAILS
Novo Nordisk, Krogshøjvej, Bagsværd, Denmark
Client: Novo Nordisk
Architect: Henning Larsen Architects
Lighting Designer: Christina Augustesen, Lighting, Grontmij in
cooperation with Henning Larsen Architects
LIGHTING SPECIFIED
ERCO Quintessence downlight and wallwasher
ERCO Compar spotlight
Fagerhult AS RAY 2 ceiling light
Fagerhult AS Notor ceiling light
Fagerhult AS Pleiad Comfort downlight
Fagerhult AS Phase spot
Martin Professional Tripix 300 linear LED strip
Osram LINEARlight FLEX
Osram Double grazer
Osram Washlight - RGB and 2700° White
Osram Floodlight - RGB and 2700° White
Traxon Nano Liner Allegro AC lights
Traxon DMX control system
Intelligent Transparency
The Illusion of Zero Gravity
Highly efficient pendant LED luminaire.
Integrated light management.
Precise lighting technology with high visual comfort.

Light statement in the room: minimalist and clear cut.

www.wila.com
@WILA_lighting
#TrustWILA
060 PROJECT / NOVO NORDISK NATURE PARK, BAGSVÆRD, DENMARK
Pics: SLA
WORKIN’ 9 TO 5
Novo Nordisk Nature Park is a tranquil space that erases the boundaries
between work and leisure, utilising both natural and artificial lighting.
Developed by Denmark-based SLA
Architects, the Novo Nordisk Nature Park
was designed not only as a recreational
setting for the two office buildings, but to
provide Novo Nordisk employees with an
area for dynamic knowledge sharing and
synergy across sectors.
The park utilises both natural sunlight
and artificial lighting to create a tranquil
atmosphere during the day and at night.
In the daytime concrete surfaces reflect
the changes of the sunlight, whereas at
night the surfaces become illuminated
by scenographic spotlighting. The light
is designed to provide the space with an
adventurous feel when walking through the
park as well as when observing from inside
the buildings.
“We are inspired by the natural light
because it’s dynamic and sensual,”
commented SLA Partner Rasmus Astrup.
“It is quite natural that light moves and
changes character. When the wind blows,
the leaves of a tree or surfaces reflect light,
so it is always in some sort of motion. It
was precisely this fascination of daylight
everlasting movement, that has in the
Natural Park, inspired us to enable dynamic
white light into the different habitats
in such a way that the light - almost
imperceptible - changes in the strength and
pattern.
“Light is not just light. Light is a story about
space - it is dynamic, it changes all the
time. When light is best, it tells stories and
create atmosphere.”
Pathways, as well as several of the plant
biotopes, are lit up with slightly varying
gobo light projections, creating a sense of
moonlight and the fixtures are mounted
‘streetlight-style’ on simplistic poles,
with both poles and fixtures painted in an
elegant dark grey coat. The path light is
sensor-driven and is only activated when
people approach it. Just as natural light,
the artificial light setting of the park
will, in this way, never appear the same.
All exterior lighting is created with LED
luminaires, which are dimmed down to 50%
at night to avoid light pollution and keep
the energy consumption to a minimum.
The landscape design interprets and
expands on one of the finest natural
expressions known from the Danish
Woodland; the dead-ice landscape. The
expression is a lush, lightly rolling and
varying setting. The landscape uses a wide
palette of native plants and holds over
1,000 trees that over time will grow into
forests and habitats, offering an informal
green frame for both the indoor and
outdoor lives of the employees.
The landscape’s flowing manifestation aims
to encourage meetings between employees,
which in turn encourages an active work
environment, knowledge sharing and
innovation. In this way, the boundaries
between work and leisure are erased and
recreational strolls become an integrated
part of everyday life at Novo Nordisk. With
this in mind, the park trails are designed
to give the greatest possible experiences,
spatially, topographically and texturally.
The trials are tailored to give the greatest
sensuous variation of light, shadow, colours
and sounds. The curved course of the
path provides varied and unpredictable
experiences in the daily transit through the
park from one building to another.
SLA’s landscape provides Novo Nordisk with
a strong, new brand while employees,
customers and guests have a stress-free
recreational space for social outdoor
meetings.
www.sla.dk
PROJECT DETAILS
Novo Nordisk Nature Park, Bagsværd, Denmark
Client: Novo Nordisk
Architect and lighting design: SLA Architects
LIGHTING SPECIFIED
Bega inground armatures
iGuzzini Maxiwoody compact floodlights
iGuzzini luminous rushes
Martin Professional Exterior 400 image projectors
 Project:
y
A adem )
c
nal Products ain
na, Sp
réal Professio (Barcelo
New L’O Architec
t:
b u e
tta Taglia
Benede er:
Develop
p a ñ a s .a.
Es
L’Oréal
ctor:
Constru
o c ia dos
IC As
ring:
Enginee
res S .C .P.
s u lt o rs Estructu
AGW C
o n Installer:
SAISS
Year:
2013

Lighting:
aui
-made M
Custom de Avant
-m a
Custom + Trimless
Fil
Flat
Nic

www.lamp.es - lamp@lamp.es - tel. +34 93 736 68 00

062 PROJECT / CHIFLEY TOWER, SYDNEY, AUSTRALIA

MOVING ON UP
Chifley Tower’s updated lobby lighting, created by design
consultancy PointOfView, incorporates strong stainless steel
design elements and pendants in order to bring the building’s
elegance and Art Deco styling to life.
 063

Photos: Jackie Chan

064 PROJECT / CHIFLEY TOWER, SYDNEY, AUSTRALIA
Artwork and art sculptures featured in the lobby was highlighted using ERCO LED track spots.
Drawing comparisons to some of the world’s
greatest buildings, such as the Chrysler
and Empire State Building in New York, and
the Petronas Twin Towers in Kuala Lumpur,
the Chifley Tower in Sydney, Australia,
epitomises the luxury and opulence of the
Art Deco era.
Occupying one of Sydney’s most expensive
sites, bought by the Bond Corporation in
1988 for AUS$306m, the 6,438.6 sq metre
site, designed by New York architects Kohn
Pederson Fox in association with Travis
McEwen, is one of the most elevated in
the city with harbour views never to be
built out. When the time came to upgrade
the main lobby and satellite lobbies, such
an iconic Sydney landmark required a
delicate approach, particularly with the
lighting. While the fabric of the building
was constructed from such quality material
that it required no attention, it was felt
it deserved to be celebrated in a more
appropriate light. Design consultancy
PointOfView (POV) was brought on board by
building owner GIC to work on the upgrade
of Chifley, having previously worked
together on the exterior lighting at Sydney-
based office accommodation No.1 Martin
Place.
“The building has such a strong aesthetic
our design had to look timeless and as if it
was part of the original,” said Mark Elliott,
Principal of POV. “This drove a bespoke
solution whereby we designed all of the
equipment used in the space.”
The Chifley concept began with researching
Art Deco buildings such as the Chrysler
for inspiration, and then taking these
approaches and developing them into a
more contemporary style, bringing Chifley
into the 21st century so that it can stand as
a premium building for the future to come.
The palette of materials used in the
original KPF design is a collage of fabulous
stones with stainless steel detailing, Elliot
 UNPArALLELED QUALITy oF LIGhT &
DImmING IN oNE AFForDAbLE moDULE

Photo Credits: Grieg Hall in Bergen, Norway | Xicato Artist Series, Lighting Design by Kim E. Hughes - Bright Norway AS | Luminaires by Roblon

XIm
XICATo
INTroDUCING
INTELLIGENT
moDULE

• 1-10V and DALI options • Electrical and temperature protection

• S
uperior deep dimming, down to 0.1% • N
ext Generation Corrected Cold Phosphor
in DALI and 1% in 1-10V Technology® that keeps phosphors cool
• No observable flicker for maintained light quality

• Integrated DC driver electronics • F

uture-proof platform for expanding
capabilities

www.xicato.com
066 PROJECT / CHIFLEY TOWER, SYDNEY, AUSTRALIA

The building has such a strong aesthetic, PointOfView’s design had to look timeless and as if it was part of the original, driving a bespoke lighting solution.

commented: “The lighting approach was
obvious to us, we had to freshen the space
during the day, in order to enhance the
daylight ingress while creating a more
dramatic space after dark.
“We washed the rear wall, which draws the
eye through the full height glazing into the
space from an external view point. The light
bouncing off the walls is what lights the
space and together with uplighting to the
ceiling, creates a sense of volume.”
ERCO metal halide wall washers were used
in the double height spaces, while ERCO LED
wall washers brought single height spaces
to life. In order to highlight the artwork
featured in the lobby, ERCO LED track spots
were implemented. To replace the previous
suspended square light fixtures, which
felt underscaled and awkward in the wing
shaped lobby, POV custom designed a series
of stainless steel rings made by Lightforce,
providing uplight to the ceiling during the
day through the use of Xicato LED modules
and focused downlighting at night thanks
to acdc LED downlights integrated into the
rings. The materials used for the custom
fittings were critical and had to match the
existing stainless detail of the building –
the grade of stainless steel, weight and
direction of the brushing were all tested
until a perfect match found.
Together with the rings, a custom cluster
of pendants – also made by Lightforce
and featuring acdc LED downlights - were
suspended over the reception desk to
anchor it in the space and give visitors a
point of destination, where previously it
had been lost in the open space.
The lift lobbies were also suffering from a
cave effect and so a new architecturally
integrated stainless beam was strapped
through the lift lobbies, connecting the
existing lateral beams.
Elliot explained: “The previous wall light
and downlight combination left the walls
and ceiling dark. Lift lobbies are a critical
part of the journey to the office floors,
these transition spaces shouldn’t be

JAPANESE げます。James Carpenterによるプロジェクト

フルトン・センターは300,000人の通勤者を抱
えるマンハッタン島最南端への入り口にありま
す。設計を担当したのはGrimshawで、 ARUP
との協業でした。 照明デザインはニューヨーク
を拠点とするJames Carpenter Design As-
sociatesが行いました。 フルトン・センターの
建築費用は140億ドルに上ります。 外部からの
光を建物内に導く直径53フィートの眼には、-
James Carpenterの設計による装飾ピース
Sky Reflector-Netが置かれて光を蓄えます。
かすかに光るこのピースは、 このアトリウムを光
で満たしたいという設計者の願いの現れでま
す。アトリウムの円錐形が緊張感を醸し出し、
の装飾ピースが目線を空から建物の中心部に
向けて下向きに誘導しています。 内装デザイン
は入場者の動きを妨げず、 視線を複数階に広
の第二の要素はデイ・ストリートの地下からフ
虑到大厦建筑材料如此上乘，就必须搭配
合适的灯光加以点缀。大厦业主 GIC 委托
restera vierge de construction. Lorsqu’il s’agit de trans-
former le hall d’entrée et les halls satellites du gratte-
ルトン・センターを新築されたワールド・トレー 设计咨询机构 PointOfView (POV) 担纲奇 ciel le plus emblématique de Sydney, une approche
ド・センターに向けて結ぶ地下通路の建設で 夫利大厦的升级工作，他们曾合作创建了 réfléchie, en particulier en ce qui concerne son éclairage,
した。このトンネルは、黄昏を模したインテラク 悉尼商住楼“马丁广场 1 号”的外部灯光 était exigée. Bien que la structure du bâtiment ait été
ティブな光の壁が特徴的です。 工程。奇夫利的理念起始于对装饰艺术建 construite à partir de matériaux de qualité, de sorte
筑作品的研究，如克莱斯勒公司总部，以 qu’elle ne nécessitait aucune attention particulière, le
作为灵感来源，并取其精华再将其发展成
CHINESE 为一种更为现代的风格，将奇夫利大厦带
bâtiment lui méritait un traitement de la lumière plus
adéquat. Le propriétaire du gratte-ciel, GIC, invita l’équi-
入了 21 世纪，以让其永远屹立于未来的风 pe de consultants en conception de PointOfView (POV) à
奇夫利大厦位于悉尼最昂贵地段，由邦德 景线中。 travailler sur l’amélioration du Chifley, puisqu’ils avaient
公司于 1988 年耗资 3.06 亿澳元建成，占地 déjà collaboré à l’élaboration de l’éclairage extérieur des
面积 6,438.6 平方米，由位于纽约的科恩- FRANÇAIS locaux du N° 1 Martin Place à Sydney. Le concept appli-
佩德森-福克斯建筑师事务所 (Kohn Peder- qué au Chifley démarra par une recherche de bâtiments
son Fox) 联合 Travis McEwen 建筑师事务 Acheté par le Bond Corporation en 1988 pour 306 M$ Art Déco tels que le Chrysler pour s’en inspirer et ensuite
こ 所担纲设计，是城市海港风景线上许可建 AUS, et occupant l’un des endroits les plus chers de Syd- prendre ces idées et les faire évoluer en un style plus
设的最高建筑。在对主厅和卫星厅进行升 ney, le site de 6 438.6 m2 conçu par les architectes New contemporain, transportant ainsi le Chifley dans le 21e
级改造工作时，这样一座悉尼地标式建筑 Yorkais Kohn Pederson Fox et Travis McEwen est l’un des siècle pour que son architecture de standing soit ad-
也需要精致的工作，尤其是在灯光上。考 plus élevés de la ville et offre un panorama du port qui mirée par les générations à venir.
 067

Downlighting and uplighting used for the rings, pendants and throughout the lift lobby included Xicato LED modules, acdc LED downlights and T5 fluorescent lamps.

forgotten.” The aesthetics of the space are supported

PROJECT DETAILS
The new beam houses T5 uplights to uplift by all the usual sustainable design
the ceiling and wash light across the technologies; using LED and lighting control Chifley Tower, Sydney, Australia
stonewall cladding, while downlighting systems that harvest daylight and transition Client: GIC
Lighting Design: PointOfView
from acdc enhances the diamond pattern in from day to night scenes, as well as out
the stone floors. The upgrade to this space of hours settings ensuring the installation
relied purely on the lighting to enhance it not only creates different settings, but is LIGHTING SPECIFIED
with light and with a new sculptural form. efficient in its use of energy. ERCO quintessence lensed wall washers LED & metal halide
“This kind of solution can only be achieved Concluding, Elliot said: “It’s amazing to see ERCO LED track spots
Modular Lotis downlights
through custom designed solutions, the kind how the style of architecture has changed
T5 fluorescent lamps
of work that we pride ourselves on,” said from the late ‘80s to today. KPF are great Lightforce custom made lighting rings (with Xicato 41WXLM
Elliott. “We light spaces but we also create architects and great architecture stands the modules) and pendant elements

beautiful objects to light from. This project test of time, a slight face lift was all that
demonstrates the power of light and how a was needed to bring this gem back to life.”
it can change the face of a space.” www.pov.com.au

DEUTSCH
Der 6.438,6 Quadratmeter große, durch den New York-
er Architekten Kohn Pederson Fox in Zusammenarbeit
mit Travis McEwen konzipierte Standort auf einem
der teuersten Plätze Sydneys, der 1988 für AUS$306m
durch die Bond Corporation erworben wurde, gehört zu
den höchsten der Stadt mit einer unverbaubaren Auss-
icht auf den Hafen. Als die Zeit kam, die Eingangs- und
Satellitenhallen zu renovieren, verlangte solch ein
ikonisches Wahrzeichen von Sydney viel Fingerspitzenge-
fühl, insbesondere im Bereich Beleuchtung. Während die
Struktur des Gebäudes aus solch qualitativ hochwerti-
gem Material konstruiert wurde, dass keine besonderen
Vorkehrungen zu treffen waren, herrschte die Meinung,
dass die Beleuchtung zu verbessern war. Die Designber-
ater PointOfView (POV) wurden durch den Eigentümer
des Gebäudes GIC beauftragt, an der Auffrischung des
Chifleys mitzuarbeiten, nachdem sie zuvor zusammen an
der Außenbeleuchtung der Büroräume No.1 Martin Place
in Sydney gearbeitet hatten. Das Chifley-Konzept begann
damit, Art Deco-Gebäude wie das Chrysler als Inspira-
tionsquellen zu suchen und diese Ansätze anschließend
zu nutzen, um sie zu einem zeitgenössischen Stil weiter-
zuentwickeln und somit das Chifley ins 21. Jahrhundert
zu integrieren, so dass es auch in Zukunft als Gebäude
der Spitzenklasse fortbestehen kann.
ITALIANO
Occupando uno dei siti più costosi di Sydney, acquistato
dalla Bond Corporation nel 1988 per AUS $ 306 millioni e
con una superficie di 6.438,6 m², la Chifley Tower é stata
progettata dagli architetti di New York Kohn Pederson Fox
in collaborazione con Travis McEwen ed è uno dei punti
più alti della città con vista sul porto che sia mai stato
costruito. Al momento di ristrutturare la hall principale
e quelle piú piccole, un punto di riferimento simile della
cittá ha richiesto un approccio delicato, in particolare per
l’illuminazione. Mentre la struttura dell’edificio era stata
realizzata con dei materiali di qualità e, quindi, non ha
richiesto molta attenzione, si è ritenuto opportuno che
l’interno meritasse di essere celebrato con una luce più
appropriata. I consulenti di progettazione PointOfView
(POV) sono stati assunti dal proprietario dell’edificio GIC
per lavorare alla ristrutturazione della Chifley, avendo
già lavorato insieme sull’ illuminazione esterna dell’uf-
ficio N. 1 di Sydney Martin Place. Il concetto Chifley é ini-
ziato con la ricerca di edifici Art Deco, come quello Chrys-
ler, ai quali ispirarsi, per poi prendere questi approcci
e svilupparli con uno stile più contemporaneo, portando
Chifley nel XXI secolo in modo che potesse presentarsi
come un edificio símbolo per l’avvenire.
ESPAÑOL
Ocupa uno de los sitios más caros de Sídney y fue ad-
quirido por Bond Corporation en 1988 por AUS$306
Millones. El lugar de 6.438 metros cuadrados, diseñado
por los arquitectos Kohn Pederson Fox de Nueva York,
junto con Travis McEwen, es una de los más altos en
la ciudad con vistas hacia el puerto. Cuando llegó el
momento de actualizar el salón principal y los salones
satélites, un sitio tan emblemático de Sídney como éste,
requirió un tratamiento delicado, particularmente con la
iluminación. Mientras que la estructura del edificio fue
construida de una calidad de material tal que no requería
de atención, se merecía tener la luz más adecuada. La
consultora de diseño PointOfView (POV) fue convocada
por el propietario del edificio, GIC, para que trabaje en
la actualización de Chifley, habiendo trabajado ya jun-
tos en la iluminación exterior en las instalaciones de las
oficinas en No. 1 Martin Place, con base en Sídney. El
concepto de Chifley comenzó con la búsqueda de edifi-
cios Art Deco, como el Chrysler, para inspiración y luego
tomando estas estrategias y desarrollándolas hacia un
estilo más contemporáneo, trasladando al Chifley hacia
el siglo 21 para que se convierta en un edificio premium
del futuro venidero.
068 PROJECT / FULTON CENTER, NEW YORK, USA

Pics: Provided by Grimshaw except when noted

IN A NEW YORK MINUTE

The Fulton Center is the new transport hub for Lower Manhattan. Styled as both a retail space
and a Subway interchange the impressive new structure with its centrepiece oculus was designed
by Grimshaw in conjunction with Arup and features a daylighting design from James Carpenter
Design Associates.

The Fulton Center is the gateway to Lower
Manhattan and is the entrance through
which 300,000 commuters arrive daily in the
city’s business district.
Inspired by the awe inspiring Grand Central
Station in Midtown and standing between
the newly opened World Trade Center Me-
morial and City Hall, home to NYC’s trend
setting liberal mayor Bill de Blasio, the
Fulton Center is a transport hub combining
a number of Subway stations with 65,000
square feet of retail space.
Designed by Grimshaw in conjunction with
Arup, with a daylighting design from the
New York based James Carpenter Design As-
sociates, the Fulton Center cost 1.4 billion
dollars to build and the Centerpiece of the
project is the 53 foot-diameter oculus that
allows daylight to pour into the building’s
principle atrium. The impressive ceiling is
formed from a cable structure that supports
aluminium panelling that caches the light
and appears to shimmer.
Grimshaw was appointed by the Metro-
politan Transportation Authority Capital
Construction Company as the lead architect
on the project in collaboration with prime
design consultant Arup. Grimshaw after the
completion of a considered design process,
designed a dynamic transport environment
that treamlines connectivity and enhances
the user experience for transit passengers
who use the station daily.
The surging redevelopment of Lower Man-
hattan that has followed after the difficul-
ties prompted by 9/11 and the financial
crash of 2008 prompted the creation of the
station and it is a vital link to this commer-
cial center and its growing residential sec-

tor, acting to connecting eleven New York
City Transit subway lines and easing access
to PATH trains serving New Jersey.
“From the beginning, we were inspired by
the ambience and activity of Grand Central
Station,” says Grimshaw Project Partner
Vincent Chang.
“We endeavoured to design a similar envi-
ronment for transit customers and visitors,
creating a new front door to downtown New
York. By providing a dramatic, light-filled
civic space and incorporating the historic
Corbin Building, the transit center repre-
069
Pic: Patrick J. Cashin
sents a microcosm of Lower Manhattan’s The oculus in the Fulton Center acts as a
photographic centrepiece to the building.
evolution, one that reflects both the legacy
and the revitalisation of the district.”
The Fulton Center is organised around a
large-scale atrium contained within an
elegant, transparent façade. Tapered steel
columns draw inspiration from the historic
neighbourhood’s cast-iron buildings and
complement the integration and restoration
of the adjacent Corbin Building, the historic
Romanesque Revival Style office building
which dates back to 1888, a time before
New York became the high-rise city it is
070 PROJECT / FULTON CENTER, NEW YORK, USA

Above The open plan nature of the building allows commuters to easily move around the interior of the building ensuring easy navigation around the Center’s knot
of Subway stations. Above right The oculous in the ceiling of the building.

today.
The open design provides unimpeded
customer movement and sightlines across a
level ground plane extending from the ma-
jor thoroughfares of Broadway and Fulton
Street.
Carefully aligned entrances and exits allow
the streetscape to permeate the building,
defining clear and efficient pathways to
all trains. Once beyond fare control and
underground, passengers encounter bright-
er, widened passageways than in the older
stations, with clear signage connecting the
complex array of platforms.
The transit hub’s atrium ascends to 120 feet
and is topped by a conical dome Centerd on
the concourse below. The dome is truncated
by an angled glass oculus oriented to the
southern sky.
The central architectural concept of redi-
recting natural light deep into the transit
environment in an effort to humanise the
space and orient passengers, culminated in
the design of the dome’s interior and a new
integrated artwork.
Sky Reflector-Net (2013) is the work of en-
gineer, architect and artist; a collaboration
with Arup, Grimshaw and James Carpenter
Design Associates, commissioned by the MTA
Arts for Transit and Urban Design and MTA
Capital Construction Company. Held aloft
below the oculus, the artwork paints an
ever-changing image of the sky across the
atrium interior.
The Sky Reflector-Net builds upon the
architect’s desire to ensure that the atrium
is light filled. Tensioned within the atri-
um’s conical form, the artwork acts to fold
the sky downwards into the core of the
building, helping to create the grand civic
room that the designers hope will stand in
posterity as a rival to Grand Central.

スビルNo.1 Martin Placeの建物外装照 径 53 英尺的圆孔，可让阳光射入建筑。 laboration avec la maison ARUP, en fut le concepteur, tan-
JAPANESE 明での協業を踏まえて設計コンサルタントの 由 James Carpenter 设计的艺术大作 Sky dis que le groupe James Carpenter Design basé à New York
PointOfView（POV）
に提案しました。 チフリ Reflector-Net，位于圆孔中，可捕捉光线 en imagina l’éclairage. La construction du Centre Fulton
シドニーで最も地価の高い一角を占めるこの ーのコンセプトは当初、 クライスラーの本社 并闪光。设计师的初衷是使得整个中庭光 a coûté 1,4 milliard $ et dispose d’un oculus de 53 pieds
建物は、1988年、3億6百万オーストラリアド ビルのようなアールデコ式のビルといったも 线充足。在中庭的圆锥形中经过处理后， de diamètre permettant au bâtiment de baigner dans la
ルでBond Corporationに売却されました。 のでしたが、検討を重ねるうちに現代的なデ 该艺术作品会将阳光向下折射至建筑核心 lumière du jour. Au milieu de l’oculus se trouve le « Sky Re-
ニューヨークを拠点とする建築会社、Kohn ザインに変わり、未来を見据えた21世紀のビ 部位。内饰设计为顾客自由通行提供便 flector-Net », une œuvre d’art conçue par James Carpen-
Pederson Foxは、この6,438.6m2の建物 ルにふさわしい、高級感あふれるデザインと 利，且视线可横跨整个楼层。James Car- ter. Celle-ci capte la lumière et la fait scintiller, répondant
をTravis McEwenと共同で設計しました。 なりました。 penter 为该项目创造的第二个特别元素就 ainsi à la volonté de l’architecte de voir l’atrium resplendir
シドニーの高台に位置し、港の眺望を誇る 是在 Dey Street 下修建了连接富尔顿中心 de lumière. Reflétant la forme conique de l’atrium, l’œuvre
チフリータワーは未だ完成を見ることなく、 CHINESE 和新世贸中心的 PATH 站的地下通道。该 tendue semble attirer le ciel vers le bas, au cœur même du
メインロビーとサテライトロビー改築の際は、 通道采用了交互式的光墙，可营造出美轮 bâtiment. Le design intérieur procure une circulation des
シドニーの有数のランドマークとして照明に 富尔顿中心是下曼哈顿区的门户，每天 美奂的黄昏映像。 clients et un angle de vision sans entraves sur tout le rez-
は特に細心の注意を要しました。 ビルに使用 要见证 300,000 名往返人流。该中心由 de-chaussée. Le deuxième élément du projet pour James
された織物類は主張しすぎず、 それでいて見 Grimshaw 联合 ARUP 设计，日间灯光设 FRANÇAIS Carpenter était la création d’un passage souterrain sous
栄えがするように照明が設計が変更されま 计源自纽约詹姆斯·卡彭特联合设计事务 la rue Dey reliant le Centre Fulton à la station PATH du
した。建物所有者であるGIC社は、チフリー 所 (James Carpenter Design Associates)。 Le Centre Fulton est la passerelle vers le bas de Manhattan nouveau World Trade Center. Le tunnel est doté de murs de
タワーの改装に際し、以前シドニーのオフィ 富尔顿中心耗资 14 亿美元建成，具有直 pour 300 000 banlieusards. Le cabinet Grimshaw, en col- lumière interactive qui simule la tombée de la nuit.
LED surface-mounted ceiling downlights with rotationally symmetrical
light distribution, protection class IP 65, 450 to 2685 lumen. Colour tem-
perature optionally 3000 K or 4000 K. Available in three sizes. Available
as classical downlights or with partially frosted crystal sealing glass – an
additional portion of vertical light produces multi-faceted light graphics.
BEGA Lighting UK Ltd · Suite C1 · Paper Mews Place · 290-292 High Street
Dorking · Surrey · RH4 1QT · UK · Tel. No. +44 (0) 1306 882 098
info-uk@bega.com · www.bega.com

Das gute Licht.

For better architecture.
072 PROJECT / FULTON CENTER, NEW YORK, USA

The egg-like interior of the Fulton Centre,

the atrium ascends 120 feet.

JCDA, working with Schlaich Bergermann sageway under Dey Street linking the Fulton nificant civic role as a gateway to and from
und Partner created a cable net struc- Center to the PATH station at the new World Lower Manhattan. Today, commuters and
ture that fits inside the oculus perfectly. Trade Center. The tunnel features interac- visitors alike will arrive and depart through
Designed to resemble the film that forms a tive light walls that simulate the experience a memorable, contemporary urban transit
soap bubble, the façade draws the eye up- of twilight meaning that the two sections of centre that celebrates the city’s history
wards to the ephemeral, diurnal and season the project are linked by depictions of the while looking forward to the area’s future.
rhythms of the sky. The skylight features a sky. According to New York Governor Andrew www.grimshaw-architects.com
perforated facetted reflector system that Cuomo, “This new station makes traveling www.arup.com
is able to animate and redirect seasonal easier for subway riders, and is a beautiful www.jcdainc.com
sunlight into the atrium. Visible from the public space for visitors and commuters to
corner of Broadway and Fulton the sculp- enjoy. We now have a new cornerstone in PROJECT DETAILS
ture creates a distinctive point of orienta- Lower Manhattan, and I am proud to see
Fulton Centre, New York, USA
tion amid the busy city. this unique complex opened to the public.” Client: New York City Transit Authority
The second element of the project for JCDA Both a neighbourhood asset and regional Architect: Grimshaw, Arup
Daylighting Design: James Carpenter Design Associates
was the creation of an underground pas- interchange, the Fulton Center fulfils a sig-

DEUTSCH
Das Fulton Center ist das Tor nach Lower Manhattan für
300.000 Pendler. Der Bau des Fulton Centers, das von
Grimshaw in Zusammenarbeit mit ARUP entworfen wurde,
mit einem Tageslichtdesign von James Carpenter Design
Associates, die in New York ansässig sind, hat 1,4 Mil-
liarden $ gekostet und weist ein Rundfenster mit einem
Durchmesser von 53 Fuß auf, dank dem das Tageslicht ins
Gebäude einfallen kann. Sky Reflector-Net, ein von James
Carpenter entworfenes Kunstwerk, ist im Rundfenster in-
stalliert, nimmt das Licht auf und scheint zu flackern, ganz
nach dem Wunsch des Architekten, der gewährleisten woll-
te, dass das Atrium lichtdurchflutet ist. Das Kunstwerk,
das innerhalb der konischen Form des Atriums gespannt
ist, soll den Himmel nach unten in den Kern des Gebäudes
klappen. Die Inneneinrichtung verschafft dem Kunden
eine ungehinderte Bewegung und Sichtlinien über Fläche
auf Bodenniveau. Das zweite Projektelement für James
Carpenter war die Schaffung eines unterirdischen Gangs
unter Dey Street, der das Fulton Center mit der PATH-Sta-
tion im neuen World Trade Centre verbindet. Der Tunnel
verfügt über interaktive Lichtwände, die die Erfahrung von
Dämmerlicht simulieren.
ITALIANO
Il Fulton Centre è l’ingresso al Lower Manhattan (la parte
meridionale dell’isola) per 300.000 pendolari. Progettato
da Grimshaw in collaborazione con ARUP, con un pro-
getto dei newyorkesi James Carpenter Design Associates
che prevedeva lo sfruttamento della luce del giorno, il
Fulton Centre è costato 1,4 miliardi di dollari per la sua
costruzione e dispone di una sorta di occhio di circa 16
metri di diametro che permette alla luce diurna di entrare
nell’edificio. Lo Sky Reflector-Net, un’opera progettata da
James Carpenter, si trova all’interno dell’occhio e, assor-
bendo la luce, sembra luccicare, rispettando il desiderio
dell’architetto di conferire all’atrio un’estrema luminositá.
Teso all’interno della forma conica dell’atrio, il disegno fa
sì che il cielo “scenda” al centro dell’edificio. Il design
degli interni offre il libero movimento dei clienti ed una
visuale dal piano terra. Il secondo elemento del progetto
di James Carpenter è stata la creazione di un passaggio
sotterraneo sotto Dey Street che collega il Fulton Center
alla stazione PATH presso il nuovo World Trade Center. Il
tunnel è caratterizzato da pareti interattive luminose che
simulano il crepuscolo.
ESPANOL
El Centro Fulton es la puerta hacia el Bajo Manhattan
para 300.000 personas. Disenado por Grimshaw junto con
ARUP, con un diseno de iluminación natural de James Car-
penter Design Associates de Nueva York, el Centro Fulton
costó $1.4 billones en ser construido y presenta un óculo
de 16 metros de diámetro que permite el ingreso de la luz
natural al edificio. El Sky Reflector-Net, una obra de arte
disenada por James Carpenter, se encuentra dentro del
óculo captando la luz y pareciendo brillar, construido sobre
el deseo del arquitecto para asegurar que el patio interior
esté lleno del luz. Tensionado dentro de la forma cónica
del patio, la obra de arte actúa plegando el ingreso de la
luz del cielo hacia abajo en dirección al núcleo del edificio.
El diseno interior permite el movimiento de los clientes sin
impedimentos y la visibilidad a través del plano horizontal.
El segundo elemento del proyecto para James Carpenter
fue la creación de un pasadizo bajo tierra bajo la calle Dey
que uniera el Centro Fulton y la estación PATH en el nuevo
World Trade Center. El túnel presenta paredes interactivas
de luz que simulan el crepúsculo.
 precisionlighting.co.uk
Pico Zoom

pll_mondo-arc_feb-2015.indd 1 29/01/2015 16:52

074 PROJECT / IZB RESIDENCE, MUNICH, GERMANY

SCIENTIFIC MARVEL
IZB Residence is at the heart of Martinsried Life Science Campus, providing scientists
from around the world with an elegant space to engage in thoughtful discussion before
unwinding at the end of each day. Making the most of the space, Occhio’s lighting
concept pursues the principle of connection between architecture, interior design and
lighting blend.

Pics: Robert Sprang

 075

Design hotel IZB Residence, located in

the heart of the Martinsried Life Science
Campus, stands at an impressive 27-metres
high - encompassing seven-storeys and
featuring incisive, elegant design. Rising
from a triangular floor plan, the IZB is
designed as a faculty club serving as a
meeting place for guests and scientists from
the surrounding research facilities.
Designed by Stark Architekten of Munich,
the building is a communicative focus of
the campus, comprehensively lit by Occhio.
In charge of the lighting design was Occhio's
Helen Neumann, who commented: "The
briefing given to us was simply a rendering
of the building with its specific façade and
the floor plans for each storey. Our first
drafts showing the idea of curved ceiling
trenches luckily struck with the architect
immediately and after a year of refinement
the harmonic result emerged.
"Together with Stark Architekten, we
developed a lighting concept always
keeping the 'bigger picture' and all-over
result in mind."
With the building’s front embraced by
white aluminium strips, the internal
lighting concept pursues the principles of
076 PROJECT / IZB RESIDENCE, MUNICH, GERMANY

The ‘Seven and More’ restaurant on the ground floor - visitors experience the continuation of the façade’s dynamics on the interior. The dark suspended and
decorative ceiling wells playfully mirror the curved design while assuming the function of a chain, onto which the surface-mounted Piu alot spotlights are threaded.

connection: architecture, interior design
and lighting blend together just as the
internal spaces do.
When visitors first enter the hotel they
experience the continuation of the façade’s
dynamics inside, through the reception and
restaurant area. The dark suspended and
decorative ceiling wells playfully mirror
the curved design, while also assuming
the function of a chain, onto which 123
surface-mounted Occhio Più alto spotlights
are threaded. The rhythmic arrangement of
the spotlights and luminaires enables the
targeted lighting of the individual zones and
at the same time guides the visitor through
the space.
"The open floor plan concept for the public
areas was supposed to appear consistently
in one design," commented Neumann.
"However, the different areas required
different lighting atmospheres according to
their purpose. We had the idea to design
ceiling trenches that thread the luminaires
like pearls on a string meaning they could
be distributed among the space and create
a calm ceiling view. Theses trenches
became one of the signature features of the
building.
"With the combination of LED and low-
voltage halogen the different areas could be
lit accordingly to their purpose by keeping
one consistent luminaire design."
Covering the first six floors of the IZB are
twelve junior suites and 24 rooms, in which
diverse areas of usable space are seamlessly
interconnected and equipped with Occhio’s
universal lighting. The workspace in each
room is lit by a Sento tavolo table luminaire
(42 in total), while the headboards are lit
by a Sento letto wall luminaire (again, 42
in total are used). Where sitting areas are
featured, a Sento lettura floor luminaire
lights the space; and 36 of the rooms
feature a Sento filo suspended from the
ceiling into the room.
Along the hotel’s corridors, the walls
are shaped with Duna shape spotlights
marking access to the lift, helping to
orientate the guests. At the same time they
form a symbolic tree trunk through the
entire building, right up to the top storey
where the Faculty Club G2B (Gateway to
Biotech) - the centrepiece of the building
- is found. This 170 m² club room, with

「一番嬉しかったのは、 このビルが建て 灯光设计。他曾评论到：我们和 Stark Stark Architekten dans le but de devenir le club
JAPANESE られている過程と完成したときです。全て Architekte 携手开发了一套灯光理念， de la faculté et servir de lieu de réunion pour
のバーチャル画像や平面画像が形にな 呈现出一种“大视野”和全方位的感 les invités et les scientifiques des centres de
デサイナーズホテル、IZBレシデンスは り、文字通りこのビルが醸し出す調和を 官。 recherche des environs, le bâtiment est l’axe de
Martinsriedライフ・サイエンス・キャンパ 感じることができました。美しく、有機的 “让我印象最为深刻的，是建筑施工 communication du campus. Il fut complètement
スの中心部に聳える7階建て、27メート で純粋な内装は訪れる者を迎え入れ、繊 阶段和建成的一刻。突然之间，所有 éclairé par l’entreprise Occhio, géré par Helen
ルの建物です。 この研ぎ澄まされた感性 細な雰囲気で満たされています」 的视觉图像和 2D 方案都转化为现实， Neumann, qui explique : «Avec Stark Architekte,
とエレガンスが見事な調和を見せる建 你可以切实地感觉到一种和谐油然而 nous avons développé un concept d’éclairage en
物は、食事会や周囲の研究施設からの CHINESE 生。美丽、有机而简洁的内部装饰营 gardant constamment en tête le “tableau d’en-
研究者を招いての会議が行える会議施 造出一种热情而感人的氛围。” semble” et le résultat final.
設としてStark Architektenによって設 设计酒店 IZB Residence 位于马丁雷德 Pour moi, le plus beau moment fut de voir le
計されました。 キャンパス内のコミュニケ 生命科技学院的中心地带，是一座夺 FRANÇAIS bâtiment durant sa phase de construction, puis
ーション活性化を狙って建てられたこの 人眼球的 27 米高建筑，共七层，设计 ensuite, à son achèvement. Soudain, toutes les
建物全体の照明デザインはHelen Neu- 含蓄而典雅。该建筑由 Stark Architek- L’hôtel IZB Résidence de sept étages est situé au images virtuelles et les plans en 2D sont deve-
mann率いるOcchioが行いました。Hel- ten 担纲设计，用途为教授俱乐部，供 coeur du Campus des sciences du vivant Martin- nus réalité et l’on pouvait littéralement ressentir
enによれば、 「Stark Architekteとの協 周边研究机构宾客和科学家作为会议 sried, et s’élève à une hauteur impressionnante l’harmonie émerger. Un intérieur esthétique,
業で構築した照明コンセプトは、 「 俯瞰 用地。该建筑是校园的交际中枢，由 de 27 mètres. Il présente un style très design, à épuré et naturel garantit une ambiance très
的」に全体を捉えるというものでした」。 Helen Neumann 领衔的 Occhio 负责 la fois élégant et ajouré. Conçu par le cabinet chaleureuse et raffinée.
SPECIFY THE RIGHT ONE
FROM THE BEST.

ARCHITONIC.COM
Architonic is the world’s leading research tool for the specification of premium architectural and design products. Our curated data­base
currently provides information about more than 200‘000 products from 1‘300 brands and 6‘200 designers. 16 million architects, interior
designers and design enthusiasts annually choose Architonic as their guide to the very best.
078 PROJECT / IZB RESIDENCE, MUNICH, GERMANY

Along the corridors, Duna spotlights shape the walls and mark access to the lift area, while forming a symoblic tree trunk through the entire building. Also used in
the G2B faculty club, the Duna spotlights have been arranged randomly in the ceiling and provide functional lighting for the diverse areas. In the bedrooms Occhio’s
Sento range takes centre stage.

modern furnishings and a view of the
Alps, serves more than 600 professors
and some 100 managers and CEOs of the
IZB on the campus, acting as a place for
communication and the interdisciplinary
interlocking of people and their ideas.
The first member of the G2B was Professor
Edvard Moser, winner of the Nobel Prize in
medicine 2014.
The open ground plan of the club, which
stretches across the entire story is divided
into different function areas and includes
a spacious bar area creating an inviting
atmosphere for discussion, while high
seating elements providing a private
framework for gatherings, and a private
dining area is available for business meals.
There are 85 Duna shaped spotlights trailing PROJECT DETAILS
across the ceiling – randomly arranged and
IZB Residence, Munich, Germany
providing functional lighting for the diverse
Client: Operating Company IZB, Martinsried
areas, echoing the principle of the melding Architect & Interior Designer: Stark Architekten
of architecture and lighting. Architect Consultant: Andreas Oberrenner, Occhio Projects
Lighting Design: Helen Neumann, Occhio Projects
Concluding, Neumann added: "The greatest
moment for me was seeing the building
during the construction phase and then LIGHTING SPECIFIED
again after completion. Suddenly all the Occhio Più alto spotlight
virtual pictures and 2D plans turned into Occhio Più piano recessed spotlight
reality and you could literally feel the Occhio Duna recessed spotlight
Occhio Sento letto LED wall luminaire
harmony that emerged. A beautiful, organic Occhio Sento tavole LED table lamp
and puristic interior with a very welcoming Occhio Sento filo LED lower suspended lamp
Occhio Sento lettura LED standing lamp
and sensitive ambience was achieved."
Occhio Sento terra LED standing lamp
www.occhio.de

DEUTSCH
Das Designhotel IZB Residence mitten im Life
Science Campus Martinsried erhebt sich als
ein eindrucksvolles, 27 Meter hohes, sieben-
geschössiges Gebäude mit einem prägnanten,
eleganten Design. Stark Architekten hat das
Gebäude als Fakultätsclub entworfen, der als
Treffpunkt für Gäste und Wissenschaftler der
benachbarten Forschungseinrichtungen dient.
Es ist ein kommunikativer Schwerpunkt auf dem
Gelände, umfassend beleuchtet durch Occhio
unter Leitung von Helen Neumann, die folgen-
den Kommentar abgegeben hat: „Zusammen
mit Stark Architekten haben wir ein Beleuch-
tungskonzept entwickelt, das stets das "größere
Bild" und das Gesamtergebnis berücksichtigt
hat.
Der bedeutendste Moment war für mich, das
Gebäude während der Bauphase und dann nach
Fertigstellung zu sehen. Plötzlich sind alle virtu-
ellen Bilder und 2D-Pläne Wirklichkeit geworden
und die sich daraus ergebende Harmonie war
buchstäblich spürbar. Eine schöne, organische
und puristische Inneneinrichtung mit einer
sehr einladenden und gefühlvollen Atmosphäre
wurde erzielt."
ITALIANO
OL’ hotel IZB Residence, situato nel cuore del
Campus Martinsried Life Science, è alto ben 27
metri e comprende sette piani che sposano un
design incisivo ed elegante. Progettato da Stark
Architekten come un club di facoltà che servisse
come luogo di incontro per ospiti e scienziati
provenienti da strutture di ricerca circostanti,
l'edificio è un pilastro comunicativo del campus,
sapientemente illuminato da Occhio e diretto da
Helen Neumann che ha commentato: “Insieme
a Stark Architekte abbiamo sviluppato un con-
cetto di illuminazione tenendo sempre in mente
il “progetto finale” ed il risultato complessivo”.
"Il momento più importante per me è stato ve-
dere l'edificio durante la fase di costruzione e
poi di nuovo dopo il suo completamento. Im-
provvisamente tutte le immagini virtuali ed
i piani in 2D sono diventati realtà e si poteva
letteralmente sentire l'armonia che emergeva.
Quindi è stato raggiunto l’obiettivo che avevamo
e cioé quello di unire un interno bello, organico
e minimal ad un ambiente molto accogliente e
sensibile".
ESPAÑOL
EL hotel de diseño IZB Residence, ubicado en el
corazón del Martinsried Life Science Campus,
está levantado con una impactante altura de 27
metros compuestos de siete pisos y presentando
un diseño incisivo y elegante. Diseñado por Stark
Architekten como un club de facultad, y al servir
como un lugar de encuentro para huéspedes y
científicos de las instalaciones de investigación
de los alrededores, el edificio es un foco de co-
municación del campus que se encuentra ilumi-
nado de forma exhaustiva por Occhio, liderado
por Helen Neumann, quien comentó: "Junto con
Stark Architekte, desarrollamos un concepto de
iluminación teniendo siempre en mente el pan-
orama completo y el resultado general”.
"El mejor momento para mí fue ver el edificio
durante la fase de construcción y luego de la
finalización. De repente, todas las imágenes
virtuales y los planos en 2D se convirtieron
en realidad y se podía sentir literalmente la
armonía que afloraba. Se logró un interior her-
moso, orgánico y purista con un ambiente muy
acogedor y sensible."
MondoArc_236x333.indd 1 19/12/14 12:16
080 PROJECT / ONZE LIEVE VROUWE / AMERSFOORT, THE NETHERLANDS

Pics: Rob Acket

BEACON OF LIGHT
Dating back to 1470, Amersfoort’s Onze Lieve Vrouwe tower has been newly
enlightened by lighting designer Jeroen Jans, marking the tower as a central and
prominent structure in the local community.

Standing at 98m tall, the Onze Lieve Vrouwe
tower shines brightly over the geographical
heart of the Netherlands, thanks to a light-
ing makeover by lighting designer Jeroen
Jans.
While local authorities were enthusiastic
about the project, there was no funding
available and so Jans set up a non-profit
organisation to raise the required funds in
just nine months. Now considered a beacon
for Amersfoort and its people, the tower’s
lighting upgrade took two years to com-
plete, with Jans envisioning the tower as “a
magical structure projecting unity, balance
and synergy through lighting.”
Jans’ main objectives were to drastically
reduce light pollution and achieve a 50%
reduction in power. In order to achieve this,
the lighting had to work from the inside
out, ensuring no external shining of beams
onto the building, and no fixtures and fit-
tings were visible.
This vision was achieved with the help of
light engineering company Lomans, which
installed Osram Traxon and CLS LED lighting
fixtures. The Osram fixtures includes two
types of liners, the XB27 and XB36, both of
which use different colour temperatures
and lenses to give each part of the tower a
specific texture.
There were 138 CLS LEDs supplied in three
types of fixtures - the Revo-basic, the Revo
compact and the Mirjam. Each fixture has
its own lens and colour configuration and
is relatively small so doesn’t affect the
building’s architectural aesthetics. The Revo
fixtures lower the power consumption and
limit the loss of light to reduce light pollu-
081
Oxram Traxon and CLS LED lighting fixtures
shine inwards to hilight the beams and reduce
light pollution.
tion, thereby exaggerating these aesthetic
details with focussed and directed lighting.
The Revo Series’ lenses are fully inter-
changeable, lighting all details of the tower
thanks to the different beam angles.
The project was not without its challenges
however and Jans described how it was
difficult to fix anything to the tower without
causing damage. In order to design skirt-
ing boards for the three long walkways,
Jans worked closely with Cultural Heritage
Agency of the Netherlands to come up with
something that could be integrated with
existing security fences.
The newly lit tower was revealed in No-
vember last year with the local residents
receiving it with enthusiasm and pride.
www.jeroenjans.com
PROJECT DETAILS
Onze Lieve Vrouwe Tower, Amersfoort, The Netherlands
Lighting Design: Jeroen Jans
LIGHTING SPECIFIED
CLS REVO Basic LED fixture
CLS REVO Compact LED fixture
CLS Mirjam fixture
Traxon XB27 LED fixture
Traxon XB36 LED fixture
 GILE 15-eng-Mondo-arc-236 x 333 mm.pdf 6 2014-11-26 15:59:38

CM

MY

CY

CMY

K
 PROJECT / NORDBAD, MUNICH, GERMANY 083

Pics: Julia Dittlof

CHANNEL SWIMMER
Nordbad, an iconic swimming pool in Munich, has recently undergone a renovation, with the interior
retaining its period style while embracing modern flourishes. Gabriele Allendorf Light Identity developed a
suitable lighting design for a historic facility.

The newly refurbished Nordbad swimming
pool in Munich retains a classic monumental
architectural style while offering swimmers
all the conveniences required from a mod-
illumination of the swimming hall.
First proposed in the 1920s as a public
swimming pool in the northwest of Munich
the realisation of the Nordbad was delayed
The Nordbad swimming pool was previously lit
from the ceiling, but now, to make the room feel
like an architectural whole, the pool is lit from side
walls, freeing the ceiling from a tangle of cables in
the process.

ern swimming pool.
Built during the Second World War, Nor-
bad is famous for its impressive 33-meter
swimming pool and sauna area, there is also
an outdoor pool that remains open through
the winter for any hardy soul that wishes to
take a dip in the freezing cold.
Lighting designers Gabriele Allendorf Light
Identity aimed to create a lighting scheme
that would make Nordbad equally famous
for its lighting design.
The concept uses our natural human
fascination with water and the colours and
shadows created when water is lit, and
funnels this inspiration into a contemporary
from 1936 to 1941 when it was finally erect-
ed under the direction of Karl Meitinger and
Philipp Zametzer.
At the end of the Second World War the
public swimming pool was partly destroyed
and hence rebuilt from 1949 to 1951.
The architecture of the building is typical
of the time, the use of columns an example
of the attempt pre-war German architects
made to resurrect the traditions of a more
classical school of architecture, taking
particular inspiration from the buildings of
Ancient Rome.
The original interior of the building fea-
tured imposing murals and two ornately
painted horses that sat between a large and
regal wall clock. These were later edited
out of the building during the reconstruc-
tion in 1949.
It was decided to switch the lighting of the
hall from the ceiling to the sidewalls for
pragmatic reasons. In preparation for the
removal of the lighting above the pool it
had to be emptied, no small task in itself,
and it took twelve hours until the pool was
drained.
The pendant ceiling luminaires, complete
with their classic ball glass lampshades,
were replaced by a number of fluorescent
084 PROJECT / NORDBAD, MUNICH, GERMANY
lamp chandeliers and the classic ceiling
lights were replaced by ceiling floodlights
and reflector sheets.
The effort was worth it though, as by relo-
cating the lights to the wall sides the ceiling
was freed from large tangles of cable and
the swimming pool now appears as an
architectural unit. As well as this the ceiling
floodlights and reflector sheets mounted in
the 1990s were not only inefficient with a
40% loss of light through light deflection,
but they were also hard to maintain.
LED spotlights were installed along the inte-
rior colonnades. The fixtures were individ-
ually designed by Gabriele Allendorf Light
Identity and have been built in cooperation
with LMT, they are chlorine vapour and
water resistant and were manufactured by
Otterpohl-Leuchten.
Using specialist luminaires not only enables
a perfect adaptation of the structural shape
to the architecture but also adapts the light
perfectly to the room.
In this case the LED spotlights homoge-
neously bring light into the middle of the
room, while also directing the light onto
the ribbed ceiling. The room contour is em-
phasised by the downlights shining from the
pillars and this light is then easily directed
into the wider room.
The luminaires have been installed on the
columns approximately seven meters above
the floor. In the lower area of the north side
of the pool the pillars boasted ugly black
loudspeaker boxes and these have been
replaced with subtle white loudspeakers.
The solaria galley, which reaches along the
side of the swimming hall on the first floor
of the building has been equipped with
subtle ceiling light lines. This indirect and
warm white illumination helps visitors to
relax, while the innovative lighting creates
a seamless connection with the swimming
areas. All the fixtures in this area were
designed by Allendorf in conjunction with
Korona.
The light concept was made in close cooper-
ation with the heritage management office
in Munich and the SWM and this is a project
that respects the requirements needed to
preserve historical monuments.
The plan for the next renovation phase
intends to highlight the arcade behind the
tribunes in a way that emphasises the wall
mosaics. It is intended that cold white lights
will accentuate the blue and turquoise
shades of the mosaics.
The new look Norbad is a pool for swimming
purists, who like to revel in the notion of
swimming as a pursuit, a tool for relaxation
Left LED spotlights were placed on the ceiling
behind the colonnade, while bespoke LED wall
lights were fixed to the columns themselves.
Right The neoclassical style columns lend the pool
a stylish feel and, thanks to the lighting being
relocated the shape of the ceiling is undiminished.
and exercise rather than sport and competi-
tion. This newly modernised facility can also
cope with the demands of competition too,
all under a lighting scheme that doesn’t aim
only to highlight the pool, but to make it, in
conjunction with a fine neoclassical build-
ing, part of an architectural whole.
www.gabriele-allendorf.de
LIGHTING SPECIFIED
20 x Custom made wall up and down lights chlorine Gabriele
Allendorf / Otterpohl-Leuchten
1 x Custom made LED Line (uplight) for solarium-gallery (in
cooperation with Korona)
1 x custom-made LED Line (downlight) in the solarium-gallery
(in cooperation with Korona)
2 x spots for the Angel-fountain, Linealight iLed Clivo
PROJECT DETAILS
Nordbad, Munich, Germany
Client: The City of Munich
Architect: Karl Meitinger
Lighting Design: Gabriele Allendorf Light Identity
 43 consistent, repeatable colours created Frosted Dichroic Filters combine colour
by design professionals. and diffusion in one filter.

Glass Dichroic colour correction filters

ideal for warming or cooling a light source.

All LEE glass filters are available in

custom shapes and sizes

LEE Filters offer a wide

range of products to help
control, colour and correct
different light sources. www.leefilters.com
sales@leefilters.com
Visit our website for further details. +44 (0) 1264 366245

5425 LF_Arch_Ad_Di_QR_333x236.indd 1 30/04/2012 13:43

086 ART & DESIGN / FETES DES LUMIERES, LYON, FRANCE

FETES ACCOMPLI
Paul James paid a visit to the world’s most established festival of light and managed to force his way through
the bustling crowds and huge queues to find some interesting installations.

The official Twitter account of Fetes des
Lumieres confidently predicted that three
million people were expected on the streets
of Lyon between December 5 - 8 to see this
lighting spectacle. And boy, at times it felt
like it!
The crowds remorselessly pushed their way
through the narrow cobbled streets and
enclosed plazas in such a frenzied way that
it sometimes verged on the dangerous. But
such is the want for an incredibly successful
festival of light that has its roots in a candle
lighting ceremony from 1852.
The Festival of Lights is a unique event
because, unlike other large events in France
and other countries, it is tied to the territory
and local history. It perpetuates a secular
tradition whose celebration has evolved
over time. This living heritage has been
transmitted from generation to generation.
The people of Lyon see the Festival of Lights
as an essential annual event, which they
enjoy participating in. Many associations,
companies, cultural institutions, hospitals,
schools and universities mobilize each year
to propose, welcome or support creations
that contribute to animating the different
city districts. Anyone may also light windows
and balconies with candles on the evening of
December 8th.
Since 2005, ‘Candles from the Heart’ has
invited the public to support a charitable
association by purchasing candles and
participating in the giant light fresco on the
evening of December 8.
This year, to celebrate its 150th anniversary,
the French Red Cross is the beneficiary
of this act of solidarity. The French Red
Cross and its 53,000 volunteers support
projects promoting the social link. For
many years, the association has been
committed to supporting the sectors of
health, independent living, emergency and
rescue, training and international solidarity.
Everyone is invited to support this social
solidarity operation by purchasing one or
more ‘Candles from the Heart’ at one ofthe
dedicated points of sale open during the four
days of the Festival of Lights, as well as on
the days preceding the event.
www.fetedeslumieres.lyon.fr

Pic: Gilles Aymard

VARIATIONS
ARTIST: GILBERT MOITY
The Tour Incity, the tallest building in Lyon at 200
metres, is due to open in 2015 but it made the perfect
vehicle to create a dynamic lighting scheme created
by French light artist Gilbert Moity. 154 circles of blue
light were installed on the west facade of the tower,
creating geometric movements over the surface of the
entire side of the building. The patterns represented
the comtemplative and captivating activity and energy
generated inside the tower but also the architectural
dimension of the building.
These ‘Variations’ created an endless, intense blue
scene that created a hypnotic visual spectacle to watch
at any time. The installation was visible across the city.

Pic: Gilles Aymard

 087

CATHEDRAL OF WATER AND LIGHT

ARTIST: JEAN-LUC HERVÉ
The Hôtel de Région became a cathedral
of water and light during the festival.
Spectators were captivated by a projection
of an immense cascade of water running
down the facade. Inside the cathedral the
Concert de l’Hostel Dieu choir were joined
by a soprano to make the light vibrate
in harmony with the Kyrie and Mass in C
Major by Mozart. Gradually distorted and
elongated, the sounds were transformed
into an aquatic symphony of streaming,
dropping and lapping water.

NIGHT OF DREAMS
ARTIST: DAMIEN FONTAINE
The 70th anniversary of the disappearance
of Antoine de Saint- Exupéry was
commemorated at the huge Place Bellecour
by Damien Fontaine with the help of
projection specialists La Maison Production.
The square became a temporary theatre
for an inspired evocation of the life and
work of this writer and pioneering aviator
from Lyon, who wrote The Little Prince (the
subject of Fontaine’s spectacular projection
at last year’s festival). This production
blended music, large images, special
effects, acting and gigantic decoration.
The series of dreamlike settings evoked
fragments of the existence and adventures
of Saint-Exupéry.

NJÖRD, SPIRIT OF THE WIND

ARTISTS: KIMI DO, WILFRIED DELLA ROSSA
AND THOMAS MATHIEU
The set of a fantasy film? An archeological
site? Sheltered by the Town Hall courtyard
transformed into mysterious sanctuaries,
some 30 transparent monoliths, created
by WECOMEINPEACE, enclosed the spirits
of the air. Materialised by a multitude
of feathers floating on a light wind,
these spirits danced a ballet of light.
The composition seemed to convey the
breathing of a living being. Created
by Squeaky Lobster, the soundtrack
participated in the magical, poetic
atmosphere of the setting.
088 ART & DESIGN / FETES DES LUMIERES, LYON, FRANCE

HI STRIKER
ARTIST: BEAM’ART
Inspired by the ‘Test Your Strength’ carnival
game, this interactive animation was
created by Beam’Art, a collective born from
the meeting of two research engineers
Benjamin Petit and Antoine Vanel. It aimed
for the most powerful and precise hits
possible to create a luminous beam, which
crossed the walkway and lit up the Palais
de Justice and its 24 columns. Visitors
large and small took turns taking up the
challenge. The most talented triggered an
amazing show of music and light.

WINTER GARDEN
ARTIST: CHRISTOPHE MARTINE
A passionate fan of air and wind, Christophe
Martine has used luminous kites for several
years as a way to share his enthusiasm. For
Inter Park, once night has darkened the
park, visitors entered a fairyland, where
plants with delicate curves and scintillating
flowers open their buds and corollas
inside crystal greenhouses. On the water’s
surface, eggs light up on the sleeping lake.
The magic rises to the sky, where a nuptial
parade of dragonflies and carps watches
over this fantastic world.

INCANDESCENCE
ARTIST: SEVERINE FONTAINE
Eight gigantic incandescent lamps wrap the
Rhône riverbanks in a warm glow in this
installation by Campagnie IKB (founded
by Fontaine) helped by Airstrip and using
Philips lighting. A knowing wink at the
lighting of yesterday, their shapes and
multiple filaments present light intensities
and shades in all their variations. Like a live
body vibrating with energy, a ten-metre-tall
reproduction of the cap base ‘E27’ lamp
came to life in a poetic light ballet to the
rhythm of a musical composition inspired by
the sounds of nature.
 Lighting solutions
for professional projects

TUBE AIR TUBE UP ORION

TUBE Discover TUBE, a range of LED fixtures with

a clean, modern look, generating up to
4500 lumens each. The ideal solution for
every professional environment.

LUNOO NV
Wantestraat 14
BE - 8780 Oostrozebeke
T: +32 (0) 56 676 100
info@lunoo.be
www.lunoo.eu the lighting company

LunooTUBE_Mondo 333x236 14_4897F.indd 1 13/01/15 09:40

090 ART & DESIGN / FETES DES LUMIERES, LYON, FRANCE

PART-DIEU LIBRARY Pic: Michel Djaoui

ARTIST: GUILLAUME JEOL
For the permanent lighting of the Book Silo
at the Part-Dieu Library by Atelier Roland
Jeol, the north and south building facades
evoke the edges of a book on a shelf, while
the spiral stairway shines with a warm
light in reference to the gilding on ancient
books. Façade light lines (instalight 4010
) from Insta were attached vertically on
the side walls of the building in order to
present books of different thicknesses. On
the south facade, an emergency staircase
was staged as a protruding ancient book
with golden letters, and the east facade
represents the transition to the digital
media age with light points. eldoLED
PowerPIX 1 are used to light the east
facade, symbolising the emergence of
digital communication and the exchange of
knowledge at international level.

BALL[ET] ROOM
ARTIST: AURÉLIE LE GOUGOUEC
For the Festival duration, the Place
Sathonay was transformed into an
ephemeral ballroom. During the day and at
night, trees took the stage in white tutus.
Here and there, their naked branches
revealed the curve of an arm, the arch
of a torso or an extended leg, depending
on the whims of the visitor’s imagination.
Each evening, the ballet came to life to
the music of great composers. Waltzes,
symphonies and ballets followed each
other, while the air took on varied hues,
from the coolest to the most sparkling, in
harmony with the musical background.

NIGHT LIGHT AT JACOBINS

ARTIST: CHRISTOPHE MAYER
For the duration of the festival the Jacobins
Fountain in Place des Jacobins became a
gigantic base for a night light topped with a
shade reflecting backlit silhouettes. Invited
to find a haven in the soft light of this
oversized lamp, visitors were cradled by
the lullaby of a music box and dreamt their
dreams of childhood.
092 ART & DESIGN / AMSTERDAM LIGHT FESTIVAL

DUTCH DELIGHTS
Festivals of light are flourishing around the world, adding more meaning to a public area, demonstrating
culture and the beauty of simplicity and bringing people together. Amsterdam Light Festival continues to
grow in popularity and here’s why...

Now in its third year, the Amsterdam Light
Festival ran from November to January for
more than 50 days. As one of the largest
light festivals - in Europe at least – it aims
to complement the city’s historical centre
with light sculptures, projections and
installations through the help of a number
of national and international contemporary
artists.
The festival has grown year on year in terms
of popularity both with artists and visitors.
There were over 1,000 applicants for the 40
installations available and it is estimated by
the organisers that 750,000 people saw the
installations either by boat or foot.
The boat route, ‘Water Colors,’ took visitors
past artworks along Amsterdam’s canals
and the Amstel, while the walking route,
‘Illuminade’ wound through the city centre.
During the festival, light played a central
role in the city as museums and institutions
organised light-related activities introducing
visitors to innovations in light art.
The result of a venture between cultural
institutions, the municipality, knowledge
institutes and businesses in Amsterdam, the
festival has year-on-year been sponsored by
numerous parties, along with crowd funding
playing a significant role in its success. This
year Zumtobel became a key partner and
also helped realise two projects.
The theme for this year’s festival was ‘A
Bright City’ challenging artists to create
a tribute to life in the city. The resulting
artworks presented a unique take on the
modern city of Amsterdam.
www.amsterdamlightfestival.com

Pics: Janus van den Eijnden

178 BOTTLES, 1 MESSAGE

ARTISTS: Saskia Hoogendoorn & Lieuwe Martijn Wijnands
There is no other city in the world where where the water of the Amstel and the collaborated with light specialists Rivolta,
you can find as many nationalities as Zwanenburgwal meet. Triple It, Robert Overweg and Jasper
Amsterdam; the city’s 800,000 residents 178 Bottles, 1 Message consists of 178 Kloosterboer for the execution of the
represent 178 nationalities. They are the bottles containing LED lights that can be artwork, inspired by the famous words of
beating heart of the city and now this controlled by the festival’s visitors. The duo former city councillor, Floor Wibaut (1859-
image has been visualised for all to see. A Saskia Hoogendoorn and Lieuwe Martijn 1936) whose statue can be seen standing
heart shines in the centre of Amsterdam Wijnands of creative agency Tijdmakers around the corner from the City Hall.
www.tijdmakers.nl
 093

RE(BI)CYCLE DOME
ARTIST: Vasili Popov
The Re(bi)cycle Dome has been
constructed using 300 bicycle rims
from discarded bicycles. The light
source of the artwork is fed with
energy by way of an old-fashioned
water pump controlled by the
general public.
Popov first built the Re(bi)
cycle Dome with the help of a
computer program that used
special algorithms, written by the
architect himself. These made sure
that the recycled wheels would
be distributed equally. Another
challenge was linking the wheels
to ensure stability of the structure
as a whole. The links are made of
metal and have been designed to
secure the wheels instead of what
they are usually meant to do. In
short, the Re(bi)cycle Dome is a
state-of-the-art dome, designed
and crafted down to the smallest
details.
www.popov-architecten.nl

HOUSE OF CARDS
ARTISTS: Merav Eitan & Gaston Zahr of
OGE Creative Group
House of Cards consists of twelve light
boxes in the form of playing cards that in
turn - or all at once - appear according to
a preconfigured choreography. Architects
Merav Eitan and Gaston Zahr of OGE
Creative Group, an agency from Israel
that specialises in architecture, street
art projects and light design in the public
space, are responsible for the House of
Cards design, which stands at almost six-
metres high. With several layers to the
structure, the idea stems from childhood
memories and the artists’ games with their
children. Portraying the city in various
ways, House of Cards has literally been
built up like a large building, layer by layer
so the structure takes the form of a house.
It also refers to a less tangible but equally
important structure in society - made up of
people and their relationships.
www.oge-group.com
094 ART & DESIGN / AMSTERDAM LIGHT FESTIVAL

MY LIGHT IS YOUR LIGHT

ARTIST: alaa minawi
The six life-sized figures made of curved neon tubes stand
on a dock as though they have just arrived from far away.
Refugees, conceived by artist alaa minawi - a Palestinian
refugee himself, living in Lebanon. Working with neon lights
to represent a soft, gentle glow exuded by the refugees
forced to leave their home, alaa’s sculptures are made of
white neon tubes that distribute an extremely delicate and
almost silky substance, especially in the evenings.
alaaminawi.tumblr.com

ON THE WINGS OF FREEDOM

ARTISTS: Aether & Hemera
The Wertheimpark bathes in the glow of
a radiant cloud of butterflies, hundreds
of which hover above the ground in
continuous, upward flight. On the Wings
of Freedom is an interactive artwork
conceived by Italian design studio Aether
& Hemera. The butterfly as a symbol for
a quick transformation is twofold for this
installation. On the Wings of Freedom is
about the way in which the pervasiveness
of technology is changing our society and
how little we realise it. At the same time,
it is about the transformation of the city
- a place where people can continuously
be inspired, not only culturally but also
socially; a place for ongoing change and
progress.
www.aether-hemera.com

LIGHTBRIDGE
ARTISTS: Tjep.
Lightbridge is an ode to Amsterdam’s
bridges, and much like an actual bridge,
functions as a connector itself. The artwork
not only draws on bridging our experiences
of the city from the street and the water
but attempts to connect the 17th Century
architecture of Amsterdam’s canals to the
newest developments along the shores of
the IJ. Tjep. refers playfully to Amsterdam’s
most iconic lights: the ones that line
the arches of Amsterdam’s bridges. The
lights used by Tjep. in Lightbridge react
to movements, from both the street and
the water, and respond with computer-
controlled lighting effects.
www.tjep.com
 095

GHOST SHIP
ARTISTS: VisualSKIN
Amsterdam and the maritime history of the Netherlands is a
golden combination according to the creatives behind Ghost
Ship. VisualSKIN specialises in the creation of additional
dimensions in existing locations by using spectacular lighting
designs and projections. Their ghost ship is not only a
nocturnal mirage but also a retro-futuristic hologram turning
to water curtains and old-fashioned stage lights. VisualSKIN
has created the illusion of a 3D object with two intersecting
planar projections. The wind plays an important role in
achieving the desired ghostly and dreamy effect – when it
picks up and blows against the streams of water, the image
shakes and it’s almost like you are looking at a magnetic
field. The use of the water jets reflects the fountain that
once stood on this exact location. The mythological fountain,
designed by sculptor Albert P. Termote, was constructed
in 1956 in honour of the centenary of the Koninklijke
Nederlandsche Stoomboot Maatschappij (KNSM), or Royal
Dutch Steamship Company.
www.visualskin.ro

TRIANGOLINI
ARTIST: Hagar Elazari
Triangolini’s design is simple, with the artwork consisting of
nothing more than a flat source of light that has been covered
with layers of semi-transparent triangular stickers. When a
sticker is peeled off and moved elsewhere, the pattern changes.
Light disappears and reappears in continuously changing
geometric constellations. Visitors are encouraged to finish what
Hagar Elazari has started and interact with the installation.
www.hagarelazari.com

EFFERVESCENCE
ARTIST: Géraud Périole
You can see just about anything in the light circles hovering
above Amsterdam’s Herengracht, the realisation of French
artist Géraud Périole, who entitled his artwork Effervescence,
meaning (the) bubbling, fizzing and foaming. The artist
likes to use uncomplicated and recognisable forms that he
continually repeats. The rings are compiled in an ingenious
system of cables that have been attached to the trees lining
the canals and which can’t be seen in the dark. The luminous
circles appear to hang effortlessly in the air and it’s up to
the imagination of the viewer to ‘finish’ the artwork when
standing on the edge of the canal, or better yet, inside a
boat.
www.geraudperiole.com
096 ART & DESIGN / AMSTERDAM LIGHT FESTIVAL

INTREPID, THE PAPER BOAT

ARTIST: Katja Galyuk, City + Light
The illuminated paper boat, about 60 times
the size of a folded origami boat, has been
named Intrepid, meaning ‘brave’, or better
yet, ‘audacious’. With her simple approach,
Galyuk highlights what the city stands for
through this artwork: safety and security,
a place with beacons and landmarks that
have become a part of the daily lives of the
city’s residents. In this way, the paper boat
is an everyday object that, as the result of
a slight transformation, can have a great
effect.
www.citypluslight.com

ARBORESCENCE
ARTISTS: Loop.pH
This winter, a spectacular, futuristic-looking
landscape arose from the Herengracht.
Arborescence looks like a crossing between
a system of advanced streetlights and the
porous stems of a mystical mangrove forest,
teeming with fireflies and glowworms.
The elements float on pontoons on the
water’s surface and are illuminated from
below by way of sensor-equipped LED lights
that react to the movements of the water.
Arborescence is the visualisation of an
idea, the application of new technological
possibilities in regards to energy use,
packaged in a setting of trees.
www.Loop.pH

CIRCLE OF LIFE
ARTIST: Rob van Houten
Circle of Life is a Möbius strip, or a loop
with only one surface and one side. The
artwork is about eternity, about the endless
stream of water in the canals and the rush
of people to the city. The colours of the
ring also play an important role in this
scene. It starts off in a milky white colour,
depicting an empty city needing to be
filled with life. When someone crosses the
Melkmeisjesbrug, the intense light flows in
both directions and blends together to form
new colours.
www.orbitect.nl
A New Spectral Paradigm
by Teddy Lo

“...... I’m positive that PLANET LED will help

more people know the importance of LEDs
and their energy-saving abilities.”

– Shuji Nakamura
winner of the Nobel Prize for Physics 2014
the Millennium Technology Prize 2006

info@planetledbook.com www.planetledbook.com
098 ART & DESIGN / AMSTERDAM LIGHT FESTIVAL

CONSTELL.ATION
ARTISTS: LIKEarchitects
The red arches are plastic tubes are lit
from within using LED lights that further
accentuate their colour. The simple
architectural elements can be adjusted to
the specifics of the environment in which
they are placed. Sometimes the arches
appear almost royal, other times they refer
to Amsterdam’s beautifully lit bridges or, as
a result of their distinctive red colour, to
the infamous Red Light District.
What Constell.ation manages to do in every
location, is give visitors the impression that
upon passing through the arches, they are
entering into a physical space - a space in
which everything appears to be different
and where time seems to stand still.
www.likearchitects.com

CAMP-FIRE
ARTISTS: Wilmhelmusvlug
Near the Hortus Botanicus, Amsterdam-
based artist and designer Wilmhelmusvlug
presents Camp-Fire: an oversized,
archetypal scouts fire. Wilhelmusvlug sees
the campfire as the first human meeting
point, a landmark, a safe haven for those
who want to leave the busy schedule of
the everyday behind, or for those who just
want to stare into the fire or start up a
good conversation. The city, too, can be
seen as a large campfire. It’s a source of
warmth and light that has attracted people
for centuries.
www.wilhelmusvlug.nl

WATER FUN
ARTIST: Angus Muir
Several spherical buoys float on the
water’s surface and are illuminated in a
rainbow of colours. The buoys exude an un-
complicated sense of joy. Muir celebrates
the public space with his light designs,
almost bringing it back to life. Water
Fun floats effortlessly through the visual
violence.
www.angusmuirdesign.com
100 ART & DESIGN / ENLIGHTEN MANCHESTER FESTIVAL

Pic: Andrew Brooks

NORTHERN LIGHTS
Held in December last year, Enlighten Manchester was a pilot festival devised and delivered by Curated
Place along with city-wide partners to show how artists and musicians can transform a city centre.

Enlighten Manchester Festival, delivered by
Curated Place, was an experimental pilot
featuring nine lighting installations across
Manchester’s city centre that resonated
with the public as a project that was both
popularist and accessible, while maintaining
its artistic legitimacy.  “very difficult, it’s so open, there’s no
Despite unforgiving weather conditions
over the three day period, the final day
allowed all of the planned installations,
designed by seven international artists and
lighting designers, to enlighten Manchester
Art Gallery, department store Debenhams,
City Tower and seven separate pieces
within public square Picadilly Gardens -
with Andrew Brooks’ Immersion and Elissa
Artesero’s A Solid Wish Scatters marked as
public favourites.
Funded by the Arts Council, Curated Place’s
Director Andy Brydon described Enlighten
Manchester as a festival aimed at engaging
the public by activating public spaces
into something other than they currently
are, a vision which was particularly aimed
at Picadilly Gardens The festival was a
culmination of the cycle of support from
the Nordic Council that previously secured
Curated Place’s production of Reykjavik’s
Winter Light Festival and Torshavn’s Nordic
House.
Brydon described the Piccadilly site as
experience of discovery when you move
around it.” There was no infrastructure or
nature to disguise the mechanics of the
project as in the Scandinavian locations,
where trees were used to hide cables.
Working with an arts budget of £35k posed
further challenges also, in that “we didn’t
expect there to be quite such a lack of
infrastructure, so we had to bring all the
power ourselves with the help of the City
Council,” continued Brydon.  expand in the future, according to Brydon,
Chris Lowe of lighting design practice BDP,
who worked on the Manchester Art Gallery
installation, told mondo*arc of the reliance
on favours from manufacturers donating kit
in order to complete the project.
Brydon and Lowe agree that the support
from the Arts Council “legitimates
architectural work and lighting work as an
art form. That’s the real power, because
they locate what we’re doing,” they both
told mondo*arc.
Following the festival, Manchester
Art Gallery’s position facing St Peter’s
Square - opposite the Central Library is
a space Curated Place wishes to expand
the festival into in the future. The group
also aims to house more works indoors,
implementing a light, sound, art and
music programme by developing a new
partnership with the library and working
more with the gallery, as the transition
from outdoor to indoor space offers more
points of discovery than an empty public
square. What is needed for the festival to
is more planning time and a larger amount
of support from commercial partners. The
next six months will be spent fundraising
in order to achieve something more
adventurous for 2015 within the framework
of an international event that’s relevant. 
www.enlightenmanchester.co.uk
 101

IMMERSION
ARTIST: Andrew Brooks
LIGHTING DESIGNERS: Nick Malbon with
Heidrun Kelly 
Brooks takes people on a tour of the city
from the noisy bustling streets to the
peaceful rooftops of Manchester’s highest
towers in a new projection environment
of his photography from gallery walls to
an outdoor space. Created in collaboration
with Curated Place and Lighting Designer
Nick Malbon, featuring a new composition
by Welsh composer Jack White, the ultimate
aim was to allow audiences a way of
interacting with Brooks’ images that focus
on the clarity and quality of the experience
and image over and above an encounter
with digital technology.
www.andrewbrooksphotography.com

Pic: Andrew Brooks

A SOLID WISH SCATTERS

ARTIST: Elisa Artesero
LIGHTING: Piccadilly Live
A Solid Wish Scatters is a subtle
intervention of light responding to the
concrete of its surroundings. The words
reflect up onto the famous concrete wall in
Piccadilly Gardens. The earthly presence of
the blocks scatter into an ephemeral light
piece to show all that is solid is still fragile
and all that is perceived to be permanent
never will be.
www.elisaartesero.com

Pic: Andrew Brooks

CATCH ME NOW
ARTIST: Tine Bech
LIGHTING: Picadilly Live
A unique interactive spotlight, which plays with the audience.
A small spotlight moves randomly around on its own until the
audience steps into the light, when the light stops and opens
up to the user in a play of light via a variety of programmable
motion cues. The focus is moved to the audience, the playful
light when caught grows, enabling the person to step into the
light and take centre stage, encouraging participation and
possibilities for play and performance.
Pic: Heidrun Kelly www.tinebech.com
102 ART & DESIGN / ENLIGHTEN MANCHESTER FESTIVAL

Pic: Heidrun Kelly

WIND IN THE WILLOWS

ARTIST: Ulf Pedersen
SUPPLIERS: Fossil Optical
Using vintage projectors from Pink Floyd’s projection rig, Pedersen
created a new vision for the Tadao Ando wall at Picadilly Gardens. 
www.ulfmarkpedersen.co.uk

CITY TOWER
ARTIST: Ulf Pedersen
SUPPLIERS: Fossil Optical
An abstraction of nature inspired by
Nordic wildlife, supported by City Tower.
www.ulfmarkpedersen.co.uk

Pic: Heidrun Kelly

Pic: Arnar Liefsson

MANCHESTER ART GALLERY

LIGHTING DESIGNERS: Myrkraverk with Chris Lowe & Giorgos
Kourtelis, BDP
SUPPLIERS: Philips, Mike Stoane Lighting, LED Linear
Chris Lowe and Giorgos Kourtelis of BDP, in collaboration with Ice-
landic designer Myrkraverk, transformed the exterior of Manchester
Art Gallery’s historic building with a stunning light installation to
bring people’s attention to the historic facade at night.
www.facebook.com/myrkraverk.light.art
www.bdp.com
Product: LD Line 15 / 3000K LED / IP54

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

NEW 15

LD Line 15
Miniature high power line of light 15
- Very low profile
- Ideal for thin shelving applications
- Internal reflector
- Range of fixing options
- No LED spotting
- IP54 as standard, with optional IP67 version
- Range of white LED colours
- Custom made lengths as standard

Please see our website for more information

Tel: +44 (0) 1322 527629

Email: light@lightgraphix.co.uk
www.lightgraphix.co.uk

Architectural, Marine and Display

30 years of design and manufacturing in the UK
104 ART & DESIGN / DARK SOURCE STORIES CREATED BY KEREM ASFUROGLU
 darksourced.tumblr.com
facebook.com/darksourced 105
106 TECHNOLOGY / COMMENT
Technology expert Dr Geoff Archenhold discusses smart lighting and a dumb industry
that is slow to react to this major technology change.
SMART LIGHTING: WHO’S
DUMB AND DUMBER?
Within the first ten days of 2015 I was
bombarded by three conferences on how
smart lighting is going to change the
industry forever. This led me to question
whether this propensity for ‘smart’ perhaps
makes up for the rather poor level of skill
throughout the lighting supply chain?
The bare fact is that the lighting industry
has seen a seismic shift in the level of
understanding on all fronts from lighting
designers, engineering consultancies,
fixture manufacturers through to ballast
manufacturers, controls and installers.
Unfortunately, an industry (more accurately
the skills within the industry) will take
at least ten to twenty years to catch up
with the fundamental earthquake and
aftershocks of a major technology change.
Until new skills sets are firmly embedded
within the industry, it is running ‘blind’
and to those that truly understand the
technology, business models and markets,
the rest of the industry appears ‘dumb’. I
am not saying I’m smart and everyone else
is dumb but there are many things I get to
see in this sector where I comment why are
they doing that or do they really believe
this?
Here are just a few examples:
EXCESSIVE LED LIFETIMES AND
WARRANTIES
In the early days, LED and fixture
manufacturers claimed 50,000 to 100,000
hours of useful life even though they
were talking about individual component
lifetimes. These ill-conceived claims were
designed to convince unsuspecting lighting
designers they never needed to re-lamp
products compared to traditional filament
and fluorescents and so excellent for end-
users.
The problem is LED fixtures (even dumb
ones) aren’t constructed from single
components and thus become significantly
more complex than the traditional light
sources they replace. As a result they are
inherintly less reliable at a system level.
If you read back through the years, I have
explained that system reliability is only
as strong as the weakest component. In
terms of LED lighting that is the electrolytic
capacitors used to smooth output ripple
current to meet EMC standards.
Therefore, why do lighting designers accept
a company’s word (no matter what their
size or brand) when they say they will
guarantee a product for, say, ten years? Is
it in the blind belief they can offer their
clients such a guarantee and just pass the
liability back to the supplier? It’s not really
how a responsible supply chain should
operate and no other industry operates
like this. For example, the IT, telecoms and
consumer electronics markets are vastly
larger than the lighting industry and offer
no more than a one or two year warranty
despite the fact they spend £100’s of
billions on R&D to deliver quality products
each year! Every warranty I’ve read has so
many exclusions in them yet everyone still
requests them as though it’s a metric of
quality – duhhh!
CONTINUED WHOLE LIFE SUPPORT
LED product lifecycles are incredibly short.
This is a major issue moving forward for
lighting designers because they should be
looking at whole life support for a building.
Just ask yourself how many healthy LED
companies have been around for more
than a decade - what happens five years
into your prestigious lighting scheme
when failures occur? Do you say to your
client they are under warranty and should
speak to the supplier about replacements?
The supplier probably isn’t around and
even if they were they couldn’t ship you
replacements as they stopped making them
three years ago! Wow, your client is into an
expensive re-lamp or an ugly looking patch!
LIGHTING CONTROLS
The old controls companies have been a
bedrock with reliable technology but they
are all based on expensive proprietary
systems. These are difficult to maintain
or expand, so what do they do now the
Internet of Things is coming along? I know,
let’s build a gateway and add an app which
means we are there! Absolutely wrong.
The advantage for the controls industry
is to shift to new open platforms with
lower costs and a vastly greater skills base
leveraged from the IT industry. Why not use
Linux, Java and other open source solutions
which are commonly used elsewhere? These
solutions are truly scalable and are not
limited to control protocols developed 20+
years ago.
SECURITY OF LIGHTING
As lighting becomes ‘smarter’ it will
become connected so security of the
connecting infrastructure will become
vital. The lighting industry today has no
idea about what security is in a network
of devices and as such we will see attacks
on lighting and building management
systems over the next few years – that’s a
guarantee. Therefore, make sure you don’t
get caught out like Sony did where hacking
teams infiltrated their networks, stole all
the information and burned their servers to
the ground. The moral of this unfortunate
episode is learn to have backup plans and
maybe not trust ‘cloud’ based controls but
rather something in-between.
I could have written so much more but I
would really like your feedback on how
dumb or smart the lighting industry really
is...
g.archenhold@mondiale.co.uk
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.
SoHo Mini
7.5 Watt Dimmable LED Projector

www.tslight.com • +1.845.947.3034
Lightfair 2015 Booth 631
 Tel 44 ( 0 ) 208 348 9003
Web www.radiantlights.co.uk
email david@radiantlights.co.uk

Landmärket residential tower, Stockholm Radiant Water effect light, IP 65

Lighting Design by Ljusarkitektur Dynamic, DMX controlled LED luminaire - 4 LEDs with different colour
temperatures dim in sequence through rippled glass

Design by

Mondo Feb 2015 half page.indd 1 1/30/2015 10:29:48 AM


THE VISION THING
Lighting expert Christopher Cuttle explains the difference between vision and perception, which is the
distinction between lighting to make an object visable of lighting it influence its apperance.
Lighting Design - A Perception Based
Approach
Author: Christopher Cuttle
Publisher: Routledge
Paperback
ISBN 978-0-415-73197-3
For lighting designers, the current situation
in general lighting practice is dismal. When
we are fortunate enough to have encoun-
tered an enlightened building owner, it is
to be expected that they will be concerned
about sustainability, and if there are con-
sultants involved who are anxious to avoid
professional liability, it is reasonable to
expect that they will want the lighting to be
compliant with current lighting standards.
For indoor lighting, such standards are-
specified in terms of minimum illuminance
levels to be provided on task planes, but
in practice these planes are only vague-
ly defined with the result that practical
application requires the prescribed levels
to be provided uniformly over the wall-to-
wall horizontal working planes. This makes
thoughtful application of illumination to
provide for lighting design objectives im-
possible. Furthermore, this situation is not
restricted to working environments. For any
location where the standards prescribe an
illuminance value, for an installation to be
accepted as fully compliant it will have to
be just another regular array of luminaires
providing uniform horizontal working plane
illuminance. You can forget any thoughts
about lighting that relates to the actual
situation, let alone any creative solutions.
In a previous article proposed “A Shared
Purpose for the Lighting Profession”, which
involved redrafting lighting standards in
terms of ambient illumination. The differ-
ence here is that ambient illumination is
specified in terms of mean room surface
TECHNOLOGY / BOOK REVIEW
exitance, MRSE, which is the measure of
the density of inter-reflected luminous flux
within the volume of an enclosed space.
Note that this metric does not include
direct flux: it concerns only flux that has
undergone one or more reflections from
surrounding room surfaces. If indoor lighting
standards were to be specified in MRSE,
then in all cases, designers would have
freedom to devise lighting design objectives
to suit.
While technicians who know nothing about
lighting would still be able to churn out
standards compliant luminaire layouts,
MRSE-based standards would open up
opportunities for professional lighting
designers to devise lighting distributions
to provide for selected design objectives.
Every situation involving a lighting pro-
fessional could be expected to become a
distinct design project, that is to say, it
would involve thinking through how direct
light, from windows or luminaires, may be
distributed not just to generate ambient
illumination, but to create an illumination
hierarchy, this being an ordered distribution
of illumination to express a distinct and
recognisable design intent.
Ambient Illumination
Figure 1 shows the entrance foyer of the
Australian National Parliament Building
in Canberra. The conventional approach
to illumination engineering is to consider
what are the critical visual tasks. According
to whether the class of visual task in the
ituation is judged to be ‘simple’ or ‘mod-
erately easy’, the recommended main-
tained illuminance specified in the relevant
standard (AS/NZS1680.1) would be 160 or
240 lux, and it would be assumed that the
selected value would be provided uniformly
over a wall-to-wall horizontal working plane
700mm above floor level. To provide this
illuminance with optimal efficiency would
call for a grid layout of luminaires that
directs the total luminaire flux onto the
horizontal working plane, but it can be seen
that in this instance, a different approach
has been taken. Indirect lighting has been
installed, and the result is a pleasant and
diffused distribution of illumination creating
something of a ‘sky and ground’ effect, and
whether it complies with either of the
standard values seems to be irrelevant.
If instead, the lighting standard specified
109
Figure 1
standard ambient illumination values for
indoor locations, where this value would
be recognised as the overall density of
luminous flux that is just sufficient to
ensure that the space does not appear dull,
gloomy, or under-lit, then this extent of
provision would be defined by the perceived
adequacy of illumination (PAI) criterion.
Providing the standard ambient illumination
specified for the activity could be expected
to ensure PAI satisfaction.
The proposed metric for ambient illu-
mination is mean room surface exitance
(MRSE), which relates to the overall density
of inter-reflected luminous flux within
an enclosed space. MRSE may be used in
standards (or lighting codes or recommend-
ed practice documents) to define standard
ambient illumination levels to satisfy the
PAI criterion for different types of activi-
ties and locations. Alternatively, it may be
used by designers to achieve chosen design
objectives, such as providing for an overall
brightness of illumination within a space, or
variation of appearance as people pass from
one space to another.
the café space shown in Figure 2. is differ-
ent in character and the illumination is only
one cause. It should be clear that not every
space needs to be governed by a standard
ambient illumination. This is an example
of space where designers should have free
reign to apply low ambient illumination
(providing safety is not compromised)
enabling high contrasts to be achieved, and
as in this case, attention being drawn to the
view-out.
The standard ambient illumination would
set the minimum level, whereas the de-
signer’s chosen ambient illumination would
become the first component of the lighting
design. A higher level could be opted for,
or for locations where no standard value is
110 TECHNOLOGY / BOOK REVIEW
specified, the lighting designer is free to
introduce design objectives that depend
on low ambient illumination levels. Light-
ing design objectives for a space may be
described in terms such as ‘a bright and
lively overall appearance’, or ‘a subdued
and restful appearance’, or even ‘a dim and
intriguing space’. In this way, the design
ambient illumination is a design objective
that is chosen for a particular location, and
it forms the foundation for the illumination
hierarchy.
Illumination Hierarchy
What we see is a distribution of reflected
flux, and what the light sources, whether
luminaires or windows, provide is a distribu-
tion of direct flux. An effective distribution
of direct flux is one that creates a scene
of reflected light for the space, directing
attention to objects of interest, giving
emphasis to forms, colours, and textures
that have visual significance, whether as
furnishings, work tasks or art objects. This
is what is meant by an illumination hierar-
chy, being a distribution of flux that creates
a structured pattern of brightness that is
related to the space and the activities that
it houses. It needs to be understood at the
outset that this does not need to be an
elaborate or pattern, but rather that for ev-
ery location, the pattern of light is sensibly
related to the space and whatever goes on
within it.
Figure 2
The process of planning such a distribution
is greatly facilitated by use of the illumina
tion hierarchy spreadsheet, an example of
which is shown in Figure 3.
If it looks formidable, keep in mind that only
the bits shown in red are entered by the
user, the rest is generated automatically.
The first three columns are straightfor-
ward – room surfaces, their areas, and their
reflectances – but keep in mind that the
reflectance values do matter and you need
to be confident that the values you enter
are realistic.
As has been explained, the first component
of the design concept is the design ambient
illumination, for which the metric is mean
room surface exitance, MRSE, and the lm/
m2 value is entered as shown. It will take
designers a little while to become accus-
tomed to this measure of the diffusely
inter-reflected light within a space, but the
entered value of 150 lm/m2 would assure a
moderately bright appearance appropriate.
As soon as the value is entered, the FRFrs
value of 31,885 lumens pops up, and this
is the first reflected flux that has to come
from the room surfaces to provide the 150
lm/m2 of MRSE.
We move on to the next stage of the design
process. The task is to devise a distribution
of direct flux from luminaires that will gen-
erate a distribution of reflected flux that
both provides the design ambient illumina-
tion and achieves a visually satisfying illumi-
nation hierarchy. In Figure 3, turn attention
now to the target/ambient illuminance ratio
Figure 3
(TAIR) column, and three lines down is
the reception area set against wall 1. This
would benefit from a distinct level of
selective illumination, and so it becomes
the first target surface. A TAIR value of
5 has been entered, and instantly, the
next column shows that 600 lux of direct
illumination (Etgt(d)) has to be put onto this
surface. Continuing down the TAIR column,
as the values are filled in, the illumination
hierarchy takes form. When the end of the
column is reached, the FRFts (first reflected
flux from target surfaces) shows a value of
18,182 lumens, and this means that direct
light reflected from the targets will provide
57% of the FRF needed for the ambient
illumination. The question now is how to
provide the other 43%.
The most useful target surfaces are large,
high reflectance surfaces over which illu-
mination can be spread without detracting
noticeably from the illumination hierarchy.
The ceiling is an obvious choice, but some
experimentation confirms that to rely only
on uplighting would need a TAIR of more
than 2.0, which would upset the hierarchy.
Instead, lower TAIR values from a combi-
nation of uplighting and wallwashing are
opted for where the aim is to match the
first reflected flux that will occur form tar-
get surfaces (FRFts) to the required FRFrs
value. Figure 4 shows the design taken to
a stage where it could be discussed with a
client. TAIR is a readily understood concept
that enables discussion of the distribution
of light as it would affect the appearance of
the space and its furnishings. When agree-
ment is reached, the designer has not only
Figure 4
a specification of both ambient illumination
and illumination hierarchy, but the all-im-
portant column of Etgt(d) values. By provid-
ing these direct illuminance values onto the
target surfaces, which, after all, is just a
matter of applied illumination engineering,
the agreed overall distribution of reflected
flux will be achieved.
When every location becomes a potential
design project
We still need lighting standards to ensure
that illumination is adequate for indoor
activity, but what we do not need is the
imposition of standard illumination distri-
butions. An illumination distribution that
is suited to each situation is the essence of
lighting design, and having uniform distribu-
tions imposed obstructs the design process.
It cannot be beneficial to deny opportuni-
ties for thoughtful lighting design.
The design approach applied in this article
is carried further in my recently published
book, “Lighting Design: A perception-based
approach”. The spreadsheets shown in
Figures 3 and 4 come from one of four
spreadsheet programs that I use to facilitate
lighting calculations, all available online.
www.kit-lightflow.blogspot.co.uk
References
1. Cuttle, Christopher. A Shared Purpose
for the Lighting Profession. Mondo*arc, Aug/
Sept 2012; 68: 125-128.
2. Cuttle, Christopher. Lighting Design: A
perception-based approach. Oxford: Rout-
ledge. 132pp, 2015.
 Mondo Arc advert PRINT.pdf 30/01/2015 14:06:10

ILLUMINATING THE POSSIBILITIES

CM

MY

CY

CMY

Galeria Melissa, London. Photography by Melvyn Vincent

LED Light Sheet is manufactured

in the UK by Applelec www.ledlightsheet.co.uk
112 TECHNOLOGY / CASE STUDY

Pics: Melvyn Vincent

/ Richard Young

PLASTIC FANTASTIC
Galeria Melissa Covent Garden is the third installation from the Melissa shoe brand. Featuring ambitious
in-store art installations, MJ Lighting and Applelec worked to provide just as ambitious lighting solutions.
MJ Lighting has created an inventive lighting
scheme using Applelec’s LED Light Sheet
for the Galeria Melissa shoe store in Covent
Garden, London.
Famed for its candy fragranced plastic shoes,
the Melissa brand is about to become known
for more than its plastic footwear. The brand
began in 1979 with creative director and head
of research and development Edson Matsuo
and has now sold over 50 million pairs of shoes
in 50 different countries. Each ‘plastic dream’
shoe design is unique with a story of its own
and is a great example of plastic architectural
design. A favourite with many celebrities,
the brand has seen some hugely successful
collaborations with Vivienne Westwood, Karl
Lagerfeld and Kate Moss.
With flagship stores in NYC and the brand's
native Sao Paolo, Brazil, Galeria Melissa
London becomes the third galeria to open.
Each shop aims to revolutionise store design
by creating a cultural space - a platform for
exciting art installations, while also selling
Melissa merchandise. The imaginative store
concept was initially devised by acclaimed
Brazilian designer Muti Randolph and brought
to life by renowned architectural and retail
design practice IDL. MJ Lighting was then
approached to provide lighting solutions for the
ambitious in-store art installations.
As well as downlighting from Hoffmeister
(supplied by Lightworks), the new Covent
Garden store features a number of art
installations inspired by light, movement
and colour. As shoppers enter the store they
are greeted with a kinetic art installation
formed of 21 illuminated acrylic shoeboxes.
In each box sits one of the iconic plastic shoes
illuminated by Applelec’s LED Light Sheet,
which is built into the roof of the box. The
113
shoeboxes hang from the ceiling, each moving
independently, through an integrated Rako
solution, to the stores eclectic soundtrack.
In the largest space of the Galeria sits an
impressive u-shaped sculpture, the tunnel wall
featuring a rigid formation of 64 apertures
covered in a layer of mirrored glass. Behind
the wall of glass are 64 display cases housing
a range of Melissa shoes, each box clad with
Corian and illuminated inside using LED Light
Sheet which is once again built into the roof of
each box. MJ Lighting’s newly launched Flex
Wave product was then used to depict the
clean line of each aperture.
When discussing the use of LED Light Sheet
in this project, Mathew Inett of MJ Lighting
commented: “LED Light Sheet gave us the
flexibility, effect and uniformity we needed for
such a forward thinking brand.”
www.mjlighting.com www.applelec.co.uk
114 TECHNOLOGY / CASE STUDY
WASHINGTON ICON
The Whitman-Walker Centre was one of the first responders to the AIDS epidemic in the 1980’s at time when
Ronald Reagan wouldn’t even utter the disease’s name. A new memorial, lit by Acclaim, marks this legacy.
Located at the site of the old Whitman
Walker Clinic at 14th Street and S Street
in Washington, D.C, the new Pillar of Fire
sculpture has 370 layers of cut and polished
float glass. The multi-faceted sculpture
catches the light from many directions and
at night the work is illuminated to reveal
slowly changing colours to represent an
abstraction of the rainbow flag.
Pillar of Fire is the creation of William
Cochran, an artist known for his large-scale
site-specfici public art projects. A project
sponsored by JBG Companies of Chevy
Chase, Maryland, and Grosvenor America,
the sculpture reinterprets the biblical Pillar
to honour healthcare workers on the front
lines of the AIDS pandemic during its early
days.
The artist said, “In the dark days of the
pandemic, people were desperately ill with
nowhere to turn, yet many called HIV/
AIDS a plague from God and ostracized
the sufferers. This kind of madness and
fear was all too common then. Pillar of
Fire represents the ones who brought light
into that darkness. It honors the courage,
compassion and selfless service of HIV/
AIDs healthcare workers who developed and
served at the Whitman Walker Clinic from
1987 to 2008. These healthcare workers
served a population that was being refused
medical services everywhere else,” said
Cochran.
“I chose a minimalist approach with a
simple shape symbolizing creation,”
Cochran said, “spiraling upward while under
tremendous downward pressure , to exploit
the hidden strength of glass in compression,
as a metaphor for these healthcare
workers.”
The column is comprised of 370 egg-shaped
layers of float glass and atands 16 feet
high. At night, a slowly changing display of
complementary colorus combines with the
shape of the sculpture to give a spiraling
sense of “motion in stillness”. The colorful
illumination is created by an internal and
external programmable lighting system
developed by John Coventry of Coventry
Lighting , Chevy Chase, Maryland.
“We needed to find a reliable, waterproof
lighting system that provided excellent
colour changing capabilities, that was
highly adaptable and easy to install,” says
Coventry, describing lighting design for the
sculpture.
Based on these criteria, he selected six Flex
Tape WP RGB and eight AL RGBW drivers
from Acclaim Lighting. Flex Tape WP RGB,
a thin and flexible LED circuit strip, mounts
inside of a UV-coated, flexible-silicone,
waterproof sleeve. IP65 rated for wet
locations, Flex Strip can be cut every 2
inches to create the exact length needed
for an application. With a 120-degree
beam angle, its low profile allows for a
variety of cove, millwork, signage and other
applications, including, as in this case,
sculptures. Flex Tape has performance life
of 30,000 hours.
This monument is a fine memorial to people
who gave their all to help others.
www.acclaimlighting.com
116 TECHNOLOGY / EXTERIOR LIGHTING CASE STUDY
BOLTE BRIDGE DAZZLES
Designed by architects Dentor Corker Marshal , Bolte Bridge spans Melbourne's Yarra River. Asked to
update its existing lighting, ULA Group chose Griven to create something much more present.
Built in 1999, the Bolte Bridge spans
Melbourne’s Yarra River and features two 140m
high silver towers, situated on either side of
the roadway at the midpoint of the bridge's
span. Designed by architects Dentor Corker
Marshal and named after the former Premier of
Victoria Sir Henry Bolte, it is one of the largest
balanced, cantilever cast in situ box girder,
bridges in Australia and forms part of the
CityLink system of toll roads.
Following the successful re-lighting of the
Melbourne 'Red Sticks’, Griven’s authorised
Australian dealer, the ULA Group, was invited
to head up, supply and design the Bolte Bridge
project, managed by Transurban. When the
old lighting system of the bridge had reached
the end of its life, the opportunity came
to enhance the lighting while also meeting
Australian energy reduction targets.
Working closely with Transurban’s engineers
and after several site tests, the decision was
made by ULA Group to replace 42 high-
powered metal halide lights on the bridge
towers with 36 Griven Powershine MK2 D
RGBW LED exterior wash luminaires.
The fixtures were installed on newly erected
platforms at the base of each column, using
a combination of spot and medium optics to
achieve even coverage and maximum light
output. Once the installation of the new LED
lighting system was complete, Transurban
reported a reduction in energy usage by 89%
- the power usage for the Bridge lights went
from 327,000kWh per year to 36,000kWh per
year. The components and replaced fittings
from the previous lighting system were
recycled and re-used wherever possible.
The new Griven LED lights fittings have an
estimated operating life of more than 50,000
hours, much longer than the previous system.
The new Griven Powershine MK2 D LED wash
lights have also created endless possibilities
to achieve dynamic colour changing scenes,
which can illuminate the Bolte’s iconic towers
in different hues, to support and involve the
bridge in special cultural and sporting events.
The new LED luminaries were strategically
installed and positioned at the base of
each tower to minimise the risk of glare to
passing motorists and reduce light spill. The
environmental benefits and cost savings
achieved in this project, stand as a great
example of how to replace out-of-date
lighting installations with new resourceful and
sustainable solutions. Overall, the results are
both aesthetically pleasing, energy efficient
and culturally sustainable, which assimilates
perfectly into Melbourne’s progressive city
environment.

www.ulagroup.com
AWARD WINNING DESIGN MEETS INNOVATION.
IP66 Rated, High Quality Construction Fixtures & Control Options -
All In One Place. All by Acclaim Lighting.

DYNA FLOOD QUAD (QA/QW)

. Quad Color Technology
. Optional Visor Available
. Advanced Color Mixing
(White Paper Available)

File Name: ACCLA

Color version with
C/100 M/0 Y/0

www.A c c l ai m L i g h t i n g .com
USA (HQ)
EU - The Netherlands
Asia - Hong Kong Black version
Singapore C/50 M/50 Y/5

White version
C/0 M/0 Y/0 K/
118 TECHNOLOGY / EXTERIOR LIGHTING CASE STUDY
THE BEAUTIFUL GAME
The newly constructed Qatar Handball Association Complex in Doha features a noteworthy lighting design
from Grupo MCI.
The newly built Qatar Handball Association
Complex in Doha is one of three stadiums built
for the twenty-fourth edition of the World
Men’s Handball Championship, which will
take place from 15th of January to the 1st of
February 2015.
The complex, with a total built-up area of
40,000 square meters, will include an arena
with a planned capacity of 5,500 seats. The
complex also includes two training halls,
accommodation, restaurant and lounges.
The project was commissioned to make
accurate lighting calculations to try to reduce
the number of luminaires in the project,
without altering the uniformity and quality of
the lighting effect.
The luminaires selected for the project
were Square Grazer 66x2, SmartLedFlex,
LedFloodStrip, Line Grazer and Linear Flex
Ultra Plus.
For general lighting 80 Square Grazer RGBW
66x2, with a 45º beam angle, were used to
highlight the top of the facade. 284 recessed
Line Grazer RGBW 600 mm were used in order
to achieve a uniform lighting effect for the
entire facade.
For the lighting control of the fixtures
DMX512-A was used. The finality of this
protocol is to create different lighting scenes,
which can be activated by sensors or by time
sensors, through programmed events or by
users remote control or Smartphones.
Due to the dimensions of the project the
distribution of the DMX signal was performed
through a radial fiber optic network. The
luminaire control rack was created by Grupo
MCI and the programming of the light effects
were done by remote control, following the
specifications and requirements from our
customer.
To highlight the perimeters of the complex,
SmartLedFlex was used. This flexible
linear fixture is very suitable for decorative
architectural projects and provides a high
performance homogeneous light to highlight
the perimeters and outlines of buildings.
As a finishing touch and to light up the
different hexagons surrounding the facade
of the stadium, Linear Flex Ultra Plus 72W
was used. Linear Flex is a great solution for
applications with curving surfaces or limited
space. Its small size enables it to be seamlessly
integrated into architectural spaces.
Finally, for the lighting of the outdoor stairs of
the complex, LedFloodStrip was used as well
as a warm white light colour for the stairs and
RGB for the handrails.
The excellence of the scheme ensures lighting
is at the core of this attractive new building.
www.grupo-mci.org
120 TECHNOLOGY / EXTERIOR LIGHTING CASE STUDY
EYECATCHING EFFICIENCY
Schlossplatz in Varel has been transformed into a modern and interesting public space thanks to the
implementation of Insta LED lighting technology.
The Schlossplatz (palace square) in Varel, near
Bremen, Germany, has been brought to life
using the latest in LED lighting technology.
Commissioned by the town of Varel and
supervised by OC Lichtplanung, the light
planning office for municipal and architectural
lighting, Insta implemented its proven
luminaire series Instalight 3090 LX as part
of the installation. The round LED installed
light points are intended for various design
arrangements on paths, squares, parks and
gardens - for the Schlossplatz project, they
were incorporated into the paving.
The brief was to transform the square into
a modern, beautiful and interesting area
for the citizens and merchants of Varel.
The lighting design had to be eyecatching
while energy efficient. In addition to the
3090 LX’s, Insta specified the 1060 LX
luminaires - similarly robust with the same
quality features and installation options but
in linear form. Furthermore, the project was
provided with ground spotlights for illuminating
objects coming out of the ground, these
were implemented by Insta in collaboration
with Lehner Werkmetall. The Terramo Q220
spotlights from Lehner Werkmetall are
equipped with technology powered by Insta
from the brand new Instalight 3050 RGBW
spotlight series. The official inauguration of the
Schlossplatz took place in November last year,
as part of the Festival of Lights.
www.insta.de
 We bring quality to light.

LED EXPERTISE SINCE 1977

DISCOVERING
LIGHT

Putting LEDs
in the right light
SSL solutions from the
world leader in LED measurement
Right from the start, we have been supporting the
LED industries with our measurement equipment.
You will also benefit from this expertise in the new
Solid-State Lighting applications. Our solutions
combine highly precise spectroradiometers and
photometers with a complete family of goniome-
ters and integrating spheres.

Discover light with Instrument Systems.

www.instrumentsystems.com/ssl

LGS 1000
Goniophotometer
with new features
© X. Chabert

light measurement

Instrument Systems Germany · Phone: +49 89 45 49 43 0 Abbey Cloister in Cluny, France

info@instrumentsystems.com · www.instrumentsystems.com www.lec-lyon.com Arches up-lit with 5625-Linealec
Specifier: 2BDM agency

IS_Ad_½_Seite_310x106 mm_Lightlady.indd 1 19.01.15 15:09

122 TECHNOLOGY / EXTERIOR LIGHTING CASE STUDY

fortress for defensive purposes. The villa then

underwent numerous architectural changes
and extensions over the course of the decades.
It started as a military stronghold, then a
nobleman’s country residence between the
15th and 16th Century until it slowly acquired
its current shape and structure.
Studio Luce Sacchi oversaw the lighting
project, installing various L&L LED lights. The
brief was to create a stunning setting with the
lighting enhancing the imposing edifice and
respecting its rigorous shapes.
The L&L Bright 2.0 recessed lighting devices
were installed on the first floor balcony of
the villa. This spacious terrace was built in
the 17th Century and overlooks the villa’s
entrance in all of its grandeur. The elegant
serliana structure is enhanced by the lights
placed at the base of the columns - thanks to
a bright, warm, 3,000K coloured light - the 20°
angle illuminates all of the column including
the capital. The inner balcony is enhanced by
the River 1.0 linear profiles with a 10° by 45°
optical angle.
A number of linear profiles, in this case the
River Wall 1.0, have been placed inside the
loggia on the upper floor. They still retain the
10° by 45° elliptical optical angle and are fitted
with ten 3,000K coloured LEDs, which create
a suggestive chiaroscuro effect on the wall,

MADE IN ITALY
giving more depth to the space.
Arches and columns are the dominant elements
of the spacious inner courtyard of the villa,
the result of architectural improvements
Made famous by Leonardo da Vinci, Villa Medici del Vascello has carried out in the 18th Century. Bright 2.0's
been restored to its former brilliance thanks to considered lighting. were installed at the base of the columns to
illuminate both columns and arches with their
In 2014, after nine years of architectural Leonardo da Vinci. Once a nobleman’s home, beam at a 20° angle - the effect markedly
improvements, Villa Medici del Vascello was the residence has been restored to its former enhancing their shape. The River 1.0’s are
reopened to the public. A historic residence glory and brilliance thanks to a carefully concealed recessed spotlights running along
located in San Giovanni in Croce (province planned lighting design project, involving a the lateral walls of the courtyard. These
of Cremona), it is known for having been number of lighting solutions by Luce&Light. profiles were chosen for their elliptical optical
the residence of Cecilia Gallerani, the lady The building hails back to the start of the nature to illuminate the walls in their entirety.
featured in the Lady with an Ermine painted by 15th Century and was originally used as a www.lucelight.it
 labyrinth?
pipeline?
street?

If this is a street –
we make it shine!
The Z5M series is designed for high flux output applications with
high current operation capability. This makes the Z5M LEDs the
ideal light source for outdoor lighting applications such as street, Z5M2
down and floodlighting. · High lumen output and efficacy
· Designed for high current operation
For further information please contact us at · Wide CCT range 2600~7000K
sales.europe@seoulsemicon.com. · High color quality with CRI min. 80 (R9>0)
· ANSI compliant binning
www.seoulsemicon.com · 3-step MacAdam
be bright
124 TECHNOLOGY / EXTERIOR LIGHTING CASE STUDY

TAKEN TO MARKET
With its jaggedly shiny ceiling the new Encants Market in Barcelona is certainly eye catching. Featuring
lighting products from LAMP, the market acts as a neighborhood beacon, both physically and economically.
Situated in Barcelona, the new market En- module of the roof has different inclinations with street optics were used, while in the
cants Barcelona of Fira de Bellcaire, better in order to do this, reflecting light, atmo- lower sections 150W Shot with street optics
known as Encants Vells, is located in the sphere and landscape. were installed.
vicinity of the Bosquet de les Glories. The make-up of the structure, which has At the perimeter of the structure spotlights
The market design offers a continuous completely open sides, allows natural light were installed with spot optics so they
platform for all commercial activities in the to seep into the space unhindered, mean- should project directly onto the central
area. Built at differing levels, the structure ing light can bounce and reflect across the square.
combines the market with the street. cover material. In addition to this the market stalls them-
The new facility is functional, open and In terms of artificial lighting, the same selves were lit with Lamp Step Air fixtures,
modern, with a brash roof that protects the uniformity as in natural light was required, luminaires that were manufactured with
businesses from the weather, while retain- especially application of the space was 1x80W special powers.
ing the feel of outdoor shopping. considered. The new market place acts not only has a
The roof not only protects the commercial 500 direct lightning Lamp Shot spotlights landmark in a city well known for its out-
activities of the market, but due to its shiny were installed, with different optics and standing buildings, but also as a commercial
quality, it reflects the appearance of the powers and placed were the required. centre for a bustling neighborhood.
city back into the market. Each structural In the higher levels of the market 35W Shot www.lamp.es
 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
Rune Marki,
Managing Director,
allowing us to focus on
Osram UK our core business.

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 Steven Reed,
Marketing Manager,
information and advice. GE Lighting

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
John Storey
SBU Director, customers, wherever they are, can
Havells-Sylvania all access a free recycling service.

0845 601 7749

ask@recolight.co.uk www.recolight.co.uk
126 TECHNOLOGY / EXTERIOR LIGHTING CASE STUDY
LIBERTY ABRIDGED
Lighting design firm Lam Partners enliven the Boston streetscape with a Lumenpulse colour changing
footbridge for Liberty Mutual Insurance.
When Boston-based insurance company
Liberty Mutual Insurance decided it wanted
to give something back to its city, an out of
the ordinary new lighting scheme for its two
buildings was opted for.
And so, working with CBT Architects, lighting
design firm Lam Partners decided on a
footbridge for Liberty Mutual that would allow
employees to cross between its two buildings
while enlivening the Boston night time street
scape at the same time.
Together, the two companies developed an
illuminated glass floor concept giving the
bridge a glowing, otherworldly look. To achieve
this, the team implemented Lumenpulse
Lumenfacade interior colour changing with
White (RGBW) luminaries in the floor of the
bridge, creating a luminous effect with no
obvious lighting sources.
There are two main structural beams on either
side of the bridge with the Lumenpulse lighting
fixtures installed within the floor plate beneath
a layer of glass. This seals off the bottom of
the bridge structure, allowing it to glow from
the streetscape below.
“But because it’s a four-sided box with
bevelled upper edges, you also get reflections
of the lighted bridge in the walls and ceiling,
which are clear glass," said Jamie Perry, Senior
Associate at Lam Partners.
The appearance of the bridge changes
throughout the year with pre-programmable
lighting scenes identified by the client.
“The combination of long life, line voltage LED
fixtures, with precise optics, significant output
and a small housing made the Lumenfacade
fixture ideal for this application,” continued
Perry.  
When it came to lighting the façade, Lam
Partners adopted an economical approach,
using less than 70 Lumenfacades to highlight
the stone detailing and cornice, allowing
the building’s distinctive shape to emerge
from the night sky. The technique was
made possible with a warm colour temperature
and a 10 x 60 grazing optic.
Combined with the glowing, colour-changing
bridge, the end result highlights the elegance
of the building, while still giving the street
below a sleek, modern feel.
www.lumenpulse.com
 ad
M
e
in
Ba
rc e
lo n a

Square Grazer ®
Design by artec3 Studio

Square Grazer ® finds the optimal balance between

aesthetical and functional values, technical perfection
and easy mounting.

48W | 79W | 160W

9º | 28º | 45º | 10x50º
DMX | DaLI
PSu integrated
Swivel head

Light color

W NW WW DW RGB RGBW

Tel. (+34) 93 630 28 00

Mail. info@grupo-mci.com
grupo-mci.com
128 TECHNOLOGY / EXTERIOR LIGHTING CASE STUDY

SAVING STATURE
CBBLD has illuminated the façade of a New York City landmark while preserving its original grandeur.
Where once stood the Union Square Savings Bank now stands the Daryl Roth Theatre.

Former home to the Union Square Savings
Bank of New York City is now home to the
Daryl Roth Theatre featuring three theatri-
cal performance spaces.
Erected in the 1840’s, the building’s
entrance is framed by four Corinthian
columns. Thanks to Cline Bettridge Bern-
stein Lighting Design (CBBLD), these historic
columns now display 150 custom Acolyte
LED fixtures highlighting each column with
projections up and down the walls of the
theatre.
Wide custom optics from the tandem fix-
tures emphasise the bold, classic façade of
this timeless structure, reviving the build-
ing’s original stature and grandeur.
One hundred and fifty custom made fixtures
are positioned in five different locations. A
truss extends several feet from the edge of
the roof, supporting a double mount fixture
arrangement. This uses a set of two fixtures
with three different beam angles, project-
ing down the surface of the building and
repeated along the entire roof edge.
Along the edge of the roof, projected
upwards, repeated single mount fixtures
illuminate the decorative roof columns of
the theatre.
The side of the building features five
windows lit with ten fixtures, two per
window. These fixtures project upwards and
highlight the architectural details at the top
of the window opening. The vaulted ceiling
of the front entrance that stands behind
the ionic columns is lit with another double
truss mounted set of fixtures, which illu-
minate the entire entrance. Lastly, portico
mounted fixtures feature above the 25ft
tall front doors, which create a focal point
for the eye when looking at the front of the
building.
www.acolyteled.com
 LED DRIvers
for maximum
light output!
HIGH-PERFORMANCE ALL PURPOSE LED DRIVER
RACD100-A & RACD150-A SERIES
UNIVERSAL AC INPUT (INCL. 277VAC)
CONSTANT CURRENT / CONSTANT VOLTAGE
OUTPUT VOLTAGE UP TO 210V
MAX OUTPUT CURRENT UP TO 11A
THE BEST WAY TO KEEP UP TO DATE WITH 90% EFFICIENCY POWERED BY NXP-TECHNOLOGY
THE ARCHITECTURAL LIGHTING INDUSTRY
UV-RESISTANT METAL CASE (IP67) EA R
UL8750 / ENEC / PSE CERTIFIED Y
5
ty
ar
w

ran

SUBSCRIBE ONLINE AT WWW.MONDOARC.COM

OR EMAIL SUBSCRIPTIONS@MONDOARC.COM

@mondoarcmag
w w w. r e c o m - l i g h t i n g . c o m
130 TECHNOLOGY / AURORALIA AWARD, LYON

THE AURA OF AURORALIA

mondo*arc editor Paul James was one of the judges of the Auroralia Award held in Lyon on 6th
December during the Fête des Lumières. Organised by Schréder and LUCI, the awards attracted
seventeen entries of extremely high standard making it very hard for the judges, which included
Paul James, editor of mondo*arc.

First Prize went to Eindhoven (Netherlands) for Strijp-S, an urban laboratory, dedicated to creating an inspirational living environment. The street lighting can be
controlled individually and are custom fitted with RGB, warm white and cool white LEDs to create different ambiances (depending on the season and local events) and
can even flash red to warn inhabitants of weather conditions such as approaching storms. The Auroralia jury was impressed by this inspiring initiative that embraces
sustainability in all its forms.

The winners of the Auroralia 2014 Award
were announced at the prize ceremony or-
ganised by Schréder and LUCI in Lyon on 6th
December during the annual Light Festival.
Over 100 lighting professionals, from city
authorities to architects and town planners
gathered to discover the winning cities.
Now in its 6th year, the Auroralia Award
- organised jointly by LUCI and Schréder
- continues to receive a high number of en-
tries from around the world which confirms
the increasing commitment of local author-
ities to minimise the ecological footprint of
urban lighting.
For 2014, a total of seventeen towns and
cities from all the world submitted entries:
Bucaramanga - Colombia; Cairo - Egypt;
Carballo - Spain; Coyhaique - Chile; Dubai
- United Arab Emirates; Eindhoven - Neth-
erlands; Heidelberg - Germany; Lamego
- Portugal; Lyon - France; Malaga - Spain;
Randfontein - South Africa; Salé - Morocco;
Savigliani - Italy; Stutterheim - South Africa;
Szekszárd - Hungary; Vadodara - India and
Venice - Italy.
The panel of judges from the lighting and
sustainability press (including Paul James,
publishing editor of mondo*arc) used their
extensive experience and unique insight to
single out projects that not only significant-
ly reduce energy consumption but have a
positive social impact for the well-being of
the local population.
First Prize went to Eindhoven, Netherlands
for Strijp-S, the former Philips industrial site
that has been converted into a 66 acre com-
plex combining residential, working, leisure
and cultural facilities. Aiming to become an
energy neutral city, the council implement-
ed sustainable smart lighting systems that
create optimal experiences for the general
public. The street lighting in Strijp-S is not
only functional - to improve safety and visi-
bility - but also aesthetic and interactive to
reflect the living nature of the public space.
Second Prize went to Malaga, Spain for the
Back2Light Soho regeneration project in
which roads were reclaimed to create more
pedestrian zones for increased social inter-
action and to boost local trade. Trees, ur-
ban furniture and play areas were installed.
The city analysed the latest innovations and
technology to draw up a sustainable lighting
plan that improves lighting levels and
 131

Clockwise from top left The second prize winner Malaga, Spain for its Back2Light Soho regeneration project; the award entrants and winners including the victorious
Eindhoven team; Special Mention went to the rural town of Stutterheim, South Africa; Lamego, Portugal, winner of the second prize for its sympathetic lighting of the
monumental baroque Sanctuary of Nossa Senhora dos Remédios.

creates a warm nocturnal ambiance while
reducing the city’s energy consumption and
environmental footprint. They implemented
the latest LED lighting solutions integrating
a motion detection and dimming system to
create safe, comfortable and fun environ-
ments.
This careful selection of lighting technology
also means that the city has reduced its
energy costs and CO2 emissions by 50% per
year. Light pollution was eliminated. This
district has once more become a popular
and inviting space where residents can relax
and play after dark, improving their quality
of life and creating a sense of pride in their
home city.
Third Prize went to Lamego, Portugal that
launched a sustainable lighting renovation
project with the goal of enhancing the
town’s heritage to revitalise tourism and
create engaging and secure public spaces
for residents. New luminaires were carefully
chosen to ensure an aesthetic design in line
with the architectural heritage while inte-
grating modern technology to reduce the
town’s environmental footprint. By install-
ing LED luminaires with a remote manage-
ment system that dims the light during the
night, this Portuguese town has reduced
its energy consumption by 70% and its CO2
emissions by nearly 21 tonnes per year.
A Special Mention went to the rural town of
Stutterheim, South Africa that launched a
plan to replace its lighting to fulfil mul-
tiple objectives including enhancing the
landscape, increasing safety for residents
travelling to work at night in dark envi-
ronments, reducing energy costs without
compromising lighting levels and respecting
dark sky initiatives.
The lighting material also had to reflect the
local forestry industry. With LED luminaires
mounted on poles made from wood sourced
locally, this successful relighting initiative
has lifted the sense of well-being for the
local population, some of whom have to
commute by foot often after nightfall. It has
also reduced energy costs and CO2 emis-
sions by an impressive 79%.
www.schreder.com
www.luciassociation.org
132 TECHNOLOGY / WORKSHOP
RETHINK THE NIGHT
The Hellenic Illumination Committee, led by Georgios Paissidis, staged an International Lighting Design
Workshop in Ioulis, the capital of Kea Island in October, taking advantage of the beautiful night sky due to
the lack of light pollution on the island.
Pic: Yiagos Athanassopoulos
Pic: Nicole Krüger
Above & top left Projection exercises in Kokka / Kea; Above & top right Before and after pictures of the nighttime identity of the Otzias Beach Hotel marked by the
saturated red light stimuli of the local flowers.
The trend of workshop based lighting
education emerged fifteen years ago and
reached its prime recently with a lot of
lighting design workshops taking place
all over the world and contributing to
successful city marketing of relevant host
cities. However, the southern part of
Europe hasn’t been so active in organising
these workshops. The Hellenic Illumination
Committee (HIC) thought that the time is
right for an international thematic lighting
design workshop and, staged under the
motto ‘Rethink the Night’, the first event
took place on the island of Kea. Georgios
Paissidis, chairman of HIC was responsible
for the specific education program with
a focus on the development of night-
friendly lighting design concepts by means
of appropriate lighting technologies and
techniques.
The orientation of the workshop reveals the
will for a creative differentiation from other
workshops that was also dictated by the
uniqueness of the local night sky of Kea. It
features a quality equal to that of the Cerro
Paranal Observatory in Chile according
to relevant photometric measurements
Pic: Nicole Krüger - before
Pic: Nicole Krüger - after
that was carried out during the workshop
with the support of Guenther Wuchterl,
light pollution expert and chairman of
the Kuffner Observatory of Vienna. This
is attributed to the windy conditions that
prevent light pollution propagation from
Athens by keeping clouds and moisture
away and to the delayed electrification of
the island.
The lack of light pollution and distinctively
underlit environment stimulated the
mostly inert dark adaptation skills of
participants thus providing ideal conditions
for investigations about the potential
of night friendly lighting technologies.
Participants were distributed into three
groups, each responsible for one site, while
three different lighting technologies were
assigned to each site.
The accurate lighting control projection
technique was applied under the guidance
of projection mapping expert Christoph
Drews from Weimar in the ruined
warehouses of Kokka, which started
supplying steamboats with coal at the end
of 19th century.
Phosphorescence aided lighting was applied
Pic: Nicole Krüger - before
Pic: Nicole Krüger - after
in the courtyard of the small chapel of Agioi
Anargyroi under the guidance of light artist
Aleksandra Stratimirovic from Stockholm,
while the third night friendly technology of
synaestethically oriented creative lighting
control was applied by Iva Vassileva, light
architect from Greece, in the courtyard of
the Otzias Beach Hotel, which also provided
accommodation for the participants.
The delegates represented eighteen
countries from Europe, America, Asia
and Middle East with participation of the
students of the lighting design masters
course at the University of Wismar together
with the Director of the course, Prof. Dr
Thomas Roemhild, who gave a lecture
about dynamic lighting in public spaces.
The workshop has already been registered
as a CIE-IYL2015 event for next year and
will be staged again in Kea from 12-16
October under the auspices of the Holy
Orthodox Metropolis of Syros with focus on
the integration of the small chapels of Ioulis
Capital City of Kea in its silent nightscape.
www.rethinkthenight.com
BUILT-IN DESIGN
The journey from concept to completion for an We understand what will work and what will not, we are
integrated façade lighting project can be long and all about a total solution.
not without risk. The rapid development of integrated
• Product Design
LED into the building envelope has brought a new
level complication to the design, procurement and • Manufacturing
construction process. • Installation
• Control
illumination Physics understands the journey and
the needs of every player very well. We develop the • Commissioning and Programming
product, provide a practical solution for the installation • A circle of capability we call ‘Built-In Design’
methodology, and supervise the installation.

Specialists in customised lighting to suit your design.

illuminationphysics.com
134 TECHNOLOGY / BENCH TEST
The Sticks and Stones range of lighting bollards are based around a novel and attractive
approach to colour and finishes. Along with the Alchemy range, David Morgan looks in
detail at these latest innovations making their mark on the exterior lighting sector.
STICKS AND STONES
Although his working life began in
the Australian fashion industry, Mark
Cunningham is now recognised as a veteran
of the architectural lighting world and has
managed divisions for companies including
Spectral, Etap, Zumtobel and Targetti
Poulsen. In 2012, he founded his own UK-
based company Trinity Lighting.
Trinity focuses on the architectural exterior
and landscape lighting markets and has just
launched a number of new product ranges.
Cunningham has developed these products
himself, doing all the design work and
tapping into his many years of experience in
marketing and selling other designers’ work.
It is understood that production of the
range has been outsourced to specialist
companies in the UK while Cunningham
concentrates on design, sales and
marketing.
The most striking of his designs are a
number of LED lighting bollard ranges. The
first range comprises Sticks, Stones and
Alchemy versions and is based around a
novel and attractive approach to colour and
finishes. The bollards’ extruded aluminium
core can be clad in a variety of different
materials so that they match the flooring
or wall-cladding materials. This enables
landscape designers, architects and end
users to select finishes for exterior lighting
in the same way that an interior designer
would match lamp shades and bases into an
interior scheme.
While most architectural and landscape
lighting products are offered in custom
powder coated colours and finishes to
achieve colour coordination over a period of
time, these finishes will fade and degrade,
particularly in extreme, exposed and
marine locations.
Cunningham has overcome this problem and
achieved a far greater degree of durability
with the Stones bollards, by cladding them
in a solid ceramic material that will weather
attractively in the same way as floor or
wall-cladding materials over many decades.
With the advent of very long life LED
sources, luminaires will now have be able
to match the much longer period between
installation and servicing without starting
to degrade. This makes ceramic an ideal
material for this application. The ceramic
cladding material used is a 10mm solid body
coloured vitrified porcelain, with a micro
surface protective sealant bonded to a core
of 5mm thick extruded aluminium.
The Sticks bollards are clad in 10mm thick
Acetylated timber for applications where
a wooden finish is needed. The timber
is sourced from managed forest and the
patented chemical treatment of acetylation
ensures the wood won’t rot or distort
for around 50 years and is graded with
the durability of teak and other tropical
hardwoods.
The Alchemy series shares the same
construction as the Sticks and Stones
bollards but instead of ceramic or wood the
panels are made of a 97% metal with resin
mix that gives the effect of cast copper,
bronze, brass or iron.
The appearance of the Sticks, Stones
and Alchemy range is clean and simple to
enable the sheet materials to be used and
this gives them a rather pleasing timeless
quality.
The construction of this range is modular

Birdcage luminaires
and standard parts are used throughout
so that a wide variety of product variants
can be produced to customer’s orders,
using the minimum number of components.
Cunningham has also gone to great
lengths to ensure that there are almost
no visible fixings. To gain access to the
internal areas and control gear one of the
ceramic or wood panels slides up exposing
two stainless steel catches with a 450lb
breaking strain that holds the bollard onto a
mounting plate. Installation would appear to
be a simple matter and if the bollards were
damaged they could be replaced quickly.
The COB LED light engine is mounted
pointing downwards to the cast top plate to
ensure good thermal management and gives
a soft light distribution through the opal
polycarbonate / acrylic blended material
diffuser. On the samples that I was shown
there was a visible shadow from the internal
wiring showing on the diffuser which would
be good to eliminate in the next iteration.
All Trinity bollards are made to order so the
colour temperature and LED power can be
selected to meet the project requirements
Stones range
Alchemy range
up to a maximum power rating of 16W
providing around 1,500 lumens. The Stones
versions are available in heights from 500 to
1,400mm which is limited by the size of the
Ceramic panels. The Sticks version can be
supplied in a greater range of heights, up to
five-metres when used as a lighting pole.
The taller lighting pole versions incorporate
a clear window and incorporate a standard
Vossloh Schwabe LED street lighting module
available in a number of optical options.
Mark has also developed a second range
of bollards that includes the Birdcage,
Silhouette and Cascade based on a square
frame construction. Into the frame direct
and indirect light engines, diffusers, painted
reflectors, perforated metal panels and
other lighting elements can be assembled to
create a wide variety of heights and visual
treatments.
As a fairly recent start-up Trinity has the
usual issues to address in order to turn
the company into a successful venture
but Cunningham’s long experience in the
architectural and landscape lighting markets
has helped him to identify some key
135
Sticks range
design features for the ranges that should
differentiate them positively from existing
products. Being able to provide exterior
lighting in matching finishes and materials
to buildings on a modular and customisable
basis would appear to be a very good way
to get the company off the ground. The
feedback to the product samples from
Mark’s many contacts in the lighting design
community has been positive, so hopefully
the next stage to full production will be
smooth and Trinity Lighting will rapidly join
the ranks of successful UK-based lighting
companies.
www.trinitylighting.co.uk
David Morgan runs David Morgan Associates,
a London-based international design
consultancy specialising in luminaire design
and development and is also MD of Radiant
Architectural Lighting.
david@dmadesign.co.uk
www.dmadesign.co.uk
© David Morgan Associates 2015
136 TECHNOLOGY / EXTERIOR LIGHTING PRODUCT GUIDE
OUTSIDE
LOOKING IN
Washer Allegro AC XB
Traxon & e:cue
Designed for outdoor environments,
Washer Allegro is a strong LED lighting
solution for architectural illumination.
Offering multiple colour options, flex-
ible aiming and various beam spreads,
this product is capable of a wide range
of actions, from flood, direct and
indirect illumination. Powered by AC
line voltage and controlled via DMX512,
Washer Allegro is a high output, energy
efficient and compact LED lighting solu-
tion with easy installation.
www.traxontechnologies.com
Wash 48 and Wash 24
Illumination Physics
This family of washlights has been cre-
ated for architectural applications. They
are available in numerous configurations
and different lens angles, including 5,
10, 25 and 45 degrees. Dependent on
the configuration the Wash produces
between 5000 and 9200 lumens. The IP
Wash family is available in a variety of
white light, 2400K to 6000K as well as
RGBW and RGBA. The electronic drivers
can either be integrated into the fix-
ture, or supplied with a remote driver.
www.illuminationphysics.com
A selection of fixtures for the
great outdoors.
WR80 Series
Studio Due
IP67 rated, the WR80 Series utilises 80
high brightness LEDs, combined with an
optic system with antiglare reflectors.
Robust and reliable, the fixtures are
able to light up objects from short dis-
tances. The WR80 can be equipped with
LEDs with different colour temperatures
(warm, neutral and cold). The WR80WB
(white balance) is equipped with LEDs
with different wavelenghts in order
to vary the colour temperature of the
light. Suitable for use on buildings and
monuments.
www.studiodue.com
Exterior 400
Martin 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 avail-
able from 7.5º, 14.5º, 31º and 57º.
www.martin.com
Site
ERCO
This grazing light wallwasher has been
created for use outdoors in order to
emphasise wall structures for a three
dimensional effect. With unprecedented
precision and uniformity, this product is
ideal for highlighting specific qualities
of architecture, while increasing its spa-
tial effect, emphasising the texture and
material of historic structures or un-
usual facades in the most striking way.
ERCO created specific LED PCBs for the
product, which are arranged in a line.
The product also features collimators
which are responsible for the fixture’s
precision.
www.erco.com
BFL Exterior
Acolyte Industries
This powerful fixture is designed to
wash and graze tall buildings up to
500 feet. It’s durable anti-UV coating
and IP65 waterproof rating allows it to
withstand harsh outdoor conditions.
The fixture is offered in a variety of
colour options and beam angles and its
data signal is daisy-chainable. It op-
erates at 100-240V AC in two versions
and is available in three lengths and
differing colours. The products also
feature up to 16,111 lumens (108-
LED model) or 7901 lumens (72-LED
model).
www.acolyteled.com

Flood200
Pulsar
Pulsar’s high power ChromaFlood200
features 66 3W LEDs with a maximum
power consumption of 200 watts. This
fixture has become an important prod-
uct for architectural and entertainment
LED lighting as it produces mixed colour
within the unit eliminating multi-co-
loured sources and shadows. IP66 rated,
100-277 VAC, with seven LED popula-
tions from single colour to TriColour, full
remote DMX, LCD menu system and op-
tional lens plates – 8,25,45,10x35,10x90
degree. Available in black, silver and
white finish as standard, with custom
colours available to suit specifications.
www.pulsarlight.com
Urba
Thorn
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 lm/W) to illumi-
nate the urban landscape, placing light
precisely with no waste (ULOR=0) due to
dedicated optics.
www.thornlighting.com
LED-Handrail
Leccor
This LED-handrail made of stainless
steel, glass beaded or polished, has a
continuous light-outlet protected by
polycarbonate glass. Equipped with a
single / double row-LED stripe (4.8W
- 9.6W / metre) it is available with
symmetric or asymmetric beam angle
(460-920 lm/m). Protection class 1 / 2
certified for public works.
www.leccor.de
Stylage
Schreder
The Stylage LED lantern is a useful tool
to create aesthetic consistency in cities
composed of a mixture of heritage
and modern architecture who wish to
highlight their historical patrimony while
accentuating their commitment to the
future. Equipped with the performing
LensoFlex 2 LED engine, the Stylage
offers a high performance with energy
savings that can exceed 75% compared
to luminaires fitted with traditional
light sources. This efficiency lowers its
payback time.
www.schreder.com
137
LED Handrail
LEC Lyon
A discreet and slim linear lighting solu-
tion, this LED handrail is designed to fit
in to its urban environment to uplight
footpaths, stairs and or terraces.
LEC has supplied a complete stainless
steal handrail that is equipped with
6 x 3 Superwatt LEDs in 3W and has a
wide choice of colours. It offers two
beam spreads (116x44 and 130x25), is
rated at IP67 and IK10, and only weighs
300 grams. Its minimum level of light
is 100 lux on a 1.2 metre strip. The
5682-School Light body is made of ano-
dised aluminium.
www.lec-lyon.com
Lyss
Luce & Light
This outdoor spotlight offers a semi-
circular light output and has a die-cast
aluminium body. With excellent IP rat-
ings to enable outside use, the product
also features high definition optics, a
semicircular beam of light, an adjusting
plate and two available power outputs:
5W and 9W.
www.lucelight.it
138 TECHNOLOGY / EXTERIOR LIGHTING PRODUCT GUIDE
Kick
Architectural Area Lighting
Contemporary design meets high per-
formance lighting with Architectural
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
contemporary urban luminaires are an
excellent option when street and pedes-
trian fixutre for up mounting heights of
25-inches are needed. The Kick comes in
multiple colour temperatures, three op-
tical distributions, is UL wet listed, IP65
rated and can be mounted as a single,
double, triple, or quad.
www.aal.net
Lumenfacade Inground
Lumenpulse
The Lumenfacade Inground is an LED
luminaire designed for ground-recessed
lighting applications, including asym-
metric wall washing, grazing, and linear
wayfinding. An innovative, plug and play
design simplifies installation, protecting
the system from water infiltration and
ensuring long-lasting performance. The
Lumenfacade Inground is available in
five different sizes (1, 2, 3, 4 and 6’),
with a wide choice of outputs, colour
temperatures, colour-mixing systems,
optics and controls.  arrangements.
www.lumenpulse.com
LeafNut
Harvard
Smart cities are the future, and street
lighting is a key smart city application.
Harvard Engineering’s wireless control
and monitoring system LeafNut was
one of the first products in the smart
cities evolution and continues to be at
the forefront in the market. Already
installed by over 100 local authorities
across the globe, LeafNut is a proven
technology that allows users to remote- Hexhedron
ly manage and dim street lights, helping
to reduce energy costs and carbon
Unilamp
Built with versatility in mind, Hexa-
emissions.
hedron is a design element for urban
www.harvardeng.com
illumination. Built to be strong, its alu-
minum construction means the product
can be used in areas with high vandal-
ism. Hexhedron is also an eye-catching
object being low glare and contempo-
rary in style. Illumination is via Tridonic
LED modules and drivers, utilising 3000k
and 4000k options and a CRI of >80.
Finished with an architectural material
Granito Ceramic top this is a versatile,
rugged, low glare product.
www.unilamp.co.th
Instalight 1067
Insta
The Instalight 1067 Inground LED light
line utilises the standard Multiline V
100 S ACO DRAIN channel and features a
glass cover with stainless support frame
and plug + play LED floorlines allowing
simple exterior installation. Available
in 1000mm or 500mm lengths (width
135mm) to create continuous lines this
single colour (with RGB options) product Modena LED
alows control of each luminaire.
LUG
www.insta.de
This decorative outdoor LED luminaire
features a profile body that ensures it
is water and dust-proof to a degree of
IP65. The luminaire is mounted directly
on the wall or in the ceiling and pro-
vides high quality lighting for effective
and impressive illuminations of selected
objects. Modena LED offers a selection
of five monochromatic light colours
(white, red, green, blue or amber)
whereas Modena RGB LED is designed
for creating dynamic illuminations with
a variety of changing light colours and
www.luglightfactory.com
YOA
EFFICIENCY AND STYLE
THROUGHOUT THE CITY

Design: Michel Tortel

WWW.SCHREDER.COM
140 TECHNOLOGY / EXTERIOR LIGHTING PRODUCT GUIDE
Parade Graphic
Griven
The Parade Graphic features powerful
architectural LED modules that en-
able an endless layout of patterns and
graphic displays. Fitted with 20 or 40
independent RGB full-colour LEDs, these
high impact IP67 bars are capable of
reproducing almost any visual concept
easily blending on a building façade to
achieve a dynamic performance. Self
addressing software, remote firmware
update and an integrated electronic
driver are further features of a product
packed with technology.
www.griven.com
Cool
Simes
Part of a new generation of Simes
products that maximise the potential of
LED technology whilst minimising size
and energy consumption. The striking
lighting effects from the solid volumes
of aluminium and glass, reflect the
continuous efforts aimed at reducing
and simplifying the luminaire and em-
phasising the architecture and its visual
comfort. The Cool family has recently
seen its range enlarged with new dimen-
sions and new designs creating more
stylish solutions applicable to different
contexts.
www.simes.com
i-Line Vision CV9C
StrongLED
This high brightness LED square contour
light features a high light transmission
frosted PMMA diffuse. The light colour
is bright and consistent and offers a
seamless line of light when cascad-
ed with no dark space. Available in a
range of whites, mono colour, RGB and
RGBW. Featuring DMX control, with the
Linear LED
function of automatic addressing, this Electron
product is weatherproof sealed and has
This waterproof custom series of linear
an IP65 rating.
LED fittings holds an IP67 rating. These
www.strongled.com
linear fittings are made with Nichia LEDs
and have been created according to the
requirements of lumen output, CCT, CRI
that is required by users. The standard
lengths vary from 33cm to 202cm with
different covers, but other lengths are
available upon request. The custom
linear fittings are ideal for highlighting,
concealed lighting, in-ground illumina-
tion, and other applications.
www.electron.gr
Lindro
Reggiani
Lindro is available in two sizes, along
with a special version featuring an
asymmetrical optic. Its high protection
rating (IP66) and advanced LED technol-
ogy make Lindro a versatile and reliable
fixture for outdoors. The high level of
efficiency and number of reflectors
LIRA
available make it suitable for general
GVA Lighting lighting or accent lighting for both small
and large spaces. Lindro’s technical
LIRA is a miniature bracket mount LED
specifications allow it to be used both
spotlight designed for architectural
indoors and outdoors, anywhere that
or landscape applications. Sealed to
requires a small light fixture with excel-
IP66, LIRA is suitable for dry, damp
lent performance and a high protection
and wet locations. With its low profile,
rating.
tilt-adjustable body that comes in two
www.reggiani.net
colours - black and matte grey - it is
discrete enough to be mounted virtually
anywhere without being a distraction.
LIRA comes in two LED colour output
versions: RGBW, that can output almost
any colour combination and dynamic
white (DWT) producing any white colour
light between 2700K and 6500K.
www.gvalighting.com
142 TECHNOLOGY / EXTERIOR LIGHTING PRODUCT GUIDE
Pera
Mawa Design
This outdoor LED up or downlight
features an anodised surface finish
thickness and is waterproof. Milled from
a single solid block of aluminum, the
housing is available in an anodised stain-
less steel-like or middle bronze surface
finish and has no visible screws. The
satin finished cover is revisionable with
the help of a glass suction tool and the
product is IP54, Serie DEKRA tested.
www.mawa-design.de
LightVault 8
Kim Lighting
Representing a new family of LED in-
grade luminaires, the LightVault 8’s
Bluetooth connectivity makes it stand
out. The solid brass fixture, which
features LED optics, uses high-speed
Bluetooth technology to enable field
aiming and dimming while offering con-
trol from 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 direc-
tional marker-style housings are also
possibilities.
www.kimlighting.com
Flut
LAMP
A robust aluminium floodlight luminaire
designed for facades and vaulted ceil-
ings - injection lacquered in a texturised
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 Titan OFA - 205
available with symmetric, asymmetric
Tons
and street optics, for luminous flux of
5,000, 8,000 and 12,000 lm with warm This IP65 rated product is ideal for use
and neutral white LED. There is an outdoors. With an exquisite pear-shaped
RGBW model available with luminous floodlight that is able to rotate 355°and
flux of 4,800. tilt 140°, this fixture would make a fine
www.lamp.es addition to any outside environment
where subtle lighting is required. The
product also features a high IP rating
and a strong durability meaning that use
of the product outdoors is of no concern
to users.
www.tonslight.com
4-in-1 RGBW
Acolyte Industries
Most exterior RBG fixtures alternate be-
tween red, green and blue LEDs, leading
to imperfect colour mixing. By mixing
RGB with white on a single LED chip the
product mixes colours brilliantly and of-
fers a larger palette of colours, while a
3.7° beam angle focuses the light where
it is needed. The product also features
LD10238 up to 4792 lumens, is available in three
lengths and boasts an IP65 waterproof
Lightgraphix rating.
www.acolyteled.com
This powerful and robust light fitting
is suitable for a wide range of exterior
and interior applications including the
illumination of building facades and for
wall washing. When fitted with a narrow
ten degree spot the LD10238 is ideal for
lighting columns and arches and any sit-
uation where strong lighting is required
outdoors. Differing beam options are
also available, as well as a 30 degree
medium or 50 degree wide spot.
www.lightgraphix.co.uk
 Light at the Arctic circle.

Projekt: Iglootel 2015, Lapland Sweden

WIBRE Elektrogeräte GmbH & Co. KG

info@wibre.de Made in Germany. Since 1919.
+49(0)7131 9053-0 www.wibre.de
Leingarten/Germany

Anzeige_210x150.indd 1 30.01.15 07:42

144 TECHNOLOGY / EUROLUCE PREVIEW
MILANESE TREATS
We take a look at what’s in store at this year’s Euroluce Show.
Soft Ceiling
Delta Light
The iMax range is the first collection
in the Soft Ceiling concept. The name
stands for maximum eye comfort and
minimal visual appearance, offering
a vast range of high performing and
discrete lighting solutions. Opting for
LED opens a wide array of possibilities
with lumen packages ranging from
400 to 2000 lumens, and beam angles
starting at 6 degree going to 43. You
can choose from fixed or adjustable,
trimless or with trim, and a wallwash
version, each one available with dif-
ferent light sources and finishes.
www.deltalight.com
TAPE
Wever & Ducre
TAPE is an extremely thin, extremely
bright LED light source that is near
invisible, but the lighting effect is enor-
mous. The dimmable light is available
in white or dark grey and in various
heights.
www.weverducre.com
Backlighting
Design LED
Design LED Products offers outstanding,
award winning technology in the world’s
thinnest shelf lighting solutions and in
the world’s thinnest and most flexible
backlighting solutions.
Additionally, Design LED technology
is unique in facilitating tailored and
bespoke lighting solutions allowing total
customisation of shape, size, colour and
light distribution.
At Euroluce, Design LED will launch
their super thin, and super-efficient
outdoor backlighting solutions, avail-
able in multiple shapes in a flexible,
malleable material.
www.designledproducts.com
OLED Light Panels
LG Chem
LG Chem provides OLED light panels
in a variety of shapes and sizes. Nine
different models are available with
two different color temperatures
(3,000K/4,000K), which deliver high
color rendering levels (CRI>90) as
well as achieving high luminance,
high efficacy and long lifespan. LG
Chem OLEDs emit no UV, very low
heat and no blue light.
www.lgoledlight.com
Circus
Innermost
Berlin born, London based Corinna
Warm based these beautiful pendants
on the shape of Victorian Circus tents.
The new grey colour, paired with a
matt white interior, is a removal from
the traditional use of an antique gold
interior in the other pendants of the
collection. Circus will soon possess both
cool and warm temperature options to
style any setting.
www.studiowarm.com
ETEREA
Platek
ETEREA represents the evolution of
the concept of a lantern, a light yet
tough solid body with minimal lines
and well defined geometries able to
conceal the latest generation LED
sources. The hallmarks of ETEREA
are great flexibility and excellent
performance, by which outdoor
spaces are enhanced with minimum
power consumption and with the
highest level of functionality. ETEREA
is available in three colours and is
made of stainless steel AISI 430 with
no visible screws.
www.platek.eu

4100
Belfiore/9010
A recessed pathfinder suitable for
stairs, corridors and entrance areas,
available with high power LED chips,
dimmable on request. The special
easy mounting system allows perfect
installation on plasterboard and with
the optional back-box on masonry as
well.The special Alphaplus+ - a com-
pound of natural materials and sta-
bilisers - gives the product excellent
UV resistance and thermal properties,
and is also hypoallergenic, non-toxic
and paintable.
www.9010.it
Mini Bond Tube
LEDS-C4
A new minimalist spotlight made of
cast aluminum, painted and finished
in white combined with black details.
Available with Zhaga LED modules with
passive dissipation and high efficiency
reflectors and angles of 20°, 30° and
50°. With no external driver required,
this range of spotlights can be nicely
integrated with any space. This spot-
light can also incorporate different
accessories installed as a surface or a
recessed solution.
www.leds-c4.com
Ravello
Astro
With its distinct
cantilever profile,
Ravello is one of a
growing number of product families in
Astro’s range providing design cohe-
sion across different lighting functions.
Each of Ravello’s wall light, table and
floor lamp variants is a sleek, modern,
clean-lined luminaire in its own right.
But, thanks to their unity of form, the
Ravello family combine to create strik-
ing yet harmonious lighting schemes.
Ravello comes in polished chrome,
matt nickel and bronze combined
with standard shade options of white,
black and oyster with built-in diffuser.
Ravello is compatible with retro-fit
LED lamps.
www.astrolighting.co.uk
Original 1127 Brass
Anglepoise
Created by the makers of the original
Anglepoise, the Original 1227 Brass
table lamp faithfully represents
the most iconic Anglepoise design.
Incorporating Anglepoise linear force
spring technology, this lamp offers
unrivalled flexibility and perfect
balance, with heavyweight cast metal
base for stability. Can be combined
with wall lamps and pendants in the
collection to create a fully coordinated
lighting scheme.
www.anglepoise.com
145
EyeNut
Harvard Engineering
Harvard Engineering will be presenting
its energy saving lighting solutions at
Euroluce 2015 on stand P32 in Hall 15.
EyeNut is the monitoring and manage-
ment system revolutionising the indoor
lighting market. LeafNut is the control
and monitoring system for outdoor and
street lighting and was one of the first
smart cities technologies on the mar-
ket. The company will also be showcas-
ing LED Solutions, which combines its
LED product ranges – CoolLED drivers,
LEDeng light engines and the Custom-
LED bespoke design and placement
service – to deliver integrated LED
Solutions that provide opportunities to
expand lighting boundaries.
www.harvardeng.com
Clavius LED
Axo Light
Axo’s long standing Clavius collec-
tion now features LED technology in
addition to other light sources already
in the catalogue: halogen, fluores-
cent, incandescent with screw fitting,
fluorescent with dedicated fitting. The
integrated LEDs are dimmable using the
DALI system.
The new range includes major new fea-
tures: the introduction of the new and
elegant sand-coloured lampshade, the
gold finish of the frame and typological
development with the introduction of
new pendant and ceiling lamps.
www.axolight.it
146 TECHNOLOGY / NEW PRODUCT
NEW FOR 2015
A selection of new products hitting the market.
Orbit
Sensio
Orbit boasts a higher light output than
the equivalent HD LED fitting. The
fitting is supplied with a collar and can
be surface mounted or recessed and is
available in both cool and warm white
LED. Orbit features a tiltable centre
section that allows users to direct the
light to the desired position on the
worktop, providing an ideal task light-
ing solution that makes food prepara-
tion easier and safer.
www.sensio.co.uk
Mood Light Motion
Traxon & e:cue
Combining LED lighting with motion
sensing technology, Mood Light
Motion interactive lighting panels
create stunning interactive lighting
solutions. Intuitive and innovative,
each modular lighting panel contains
an interactive lighting control engine
functioning as a complete stand-
alone system. Up to 255 modules
can be connected and automatically
addressed. There is no need for
external sensors or controllers and
it is compatible with various surface
materials. Mood Light Motion adds
a creative dimension for modern
interior designs.
www.traxontechnologies.com
30W Acrich module
Seoul Semiconductor
The 30W Acrich Smart Lighting module
consists of an LED module with Acrich
MJT 5050 LEDs, Acrich3 IC technology,
and an innovative heat sink and second-
ary optics. It doesn’t require a complex
AC/DC converter and can be operat-
ed directly from the AC mains which
simplifies designs, reduces component
count and improves on the reliability of
the luminaire. Acrich3 enables con-
nection through a variety of wireless
networks. This module is available in
various color temperatures and beam
patterns.
www.seoulsemicon.com
Truelux Drivers
Truelux
Truelux drivers include constant
voltage and constant current models
suitable for the Soraa MR16 and AR111
lamps – both with DALI, 0/1-10V, Phase,
and non-dimming options. The constant
voltage drivers offer flawless dim-
ming of the Brilliant and Vivid ranges,
while the constant current drivers are
designed for the 300mA MR16 lamps,
offering a smooth, linear constant cur-
rent output with no flickering.
www.trueluxgroup.co.uk
Xoominaire 9999
LED Linear
An extraordinary design language
characterises this luminaire, which
is available as surface mounted or
pendant versions. The functional
lighting system has the cross section of
99x99mm and is available in a standard
length of 1,412mm. The possibility of
through-wiring completes the technical-
ly advanced system. They are available
in three colours, and the aluminium
profile allows the use of nine different
optics for direct/indirect illumination.
It is especially suitable for applications
in shop, retail or exhibition areas.
www.led-linear.com
Luce Verde Series
Sattler
The 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
metres.
www.sattler-lighting.com
 THE GLOBAL
LANGUAGE OF LIGHT
LIGHTFAIR.COM NEW YORK, NY USA
Javits Center
PRE-CONFERENCE
May 3 ­– 4, 2015
PHOTO CREDITS
(1) WALL ILLUMINATION FANTASY OF PIOLE HIMEJI,
HIMEJI-SHI, JAPAN | LIGHTING DESIGN: UCHIHARA CREATIVE
LIGHTING DESIGN INC + TAKENAKA CORPORATION |
TRADE SHOW & CONFERENCE
May 5 – 7, 2015
PHOTOGRAPHY © MASAKI KAWAGUCHI (2) BRANZ KOSHIEN,
NISHINOMIYA, JAPAN | LIGHTING DESIGN: AKARI+DESIGN
ASSOCIATES | PHOTOGRAPHY © HIROYUKI TSUDA
148 TECHNOLOGY / NEW PRODUCT
NEW FOR 2015
A selection of new products hitting the market.
Factorylux Eco-LED
Urban Cottage Industries
A high specification LED lamp combin-
ing technology and design to provide
superior quality light output in a
rugged and handsome form. Redefin-
ing the relationship between LED and
incandescent, it is: bright powerful,
warm, consistent, flicker free, high
CRI with tactile heat-sink cast as a
solid piece of raw aluminium and fea-
tures a spherical glass envelope; and
innovative double-click dimming.
www.urbancottageindustries.com
ADVERTISERS INDEX
Acclaim............................................. 117
Anolis.......................................... 10, 150
Applelec........................................... 111
Architectural Area Lighting............... 155
Architonic........................................... 77
Atkins................................................ 150
BDP................................................... 151
Bega................................................... 71
CLS....................................................... 6
darc night........................................... 43
David Morgan Associates................. 108
Design LED....................................... 117
Dial..................................................... 97
Electron............................................ 107
Encapsulite......................................... 16
Euroluce.............................................. 79
Fuhua Electronic .............................. 143
Griven................................................. 19
Grupo MCI....................................... 127
Guangzhou Int’l Lighting Exhibition... 82
GVA.................................................. 141
Harvard............................................... 53
Havells-Sylvania.................................. 25
IALD.................................................... 14
Illumination Physics.......................... 133
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON.
TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
MIREL
Zumtobel
Featuring a distinct appearance, inte-
grating energy-efficient LED technology
into a tried-and-tested stylistic idiom.
Thanks to the lens shape, a directional
beam pattern and a brilliant appear-
ance are achieved without any annoying
glare. Light distribution is effected at
a rate of 95 per cent with only five per
cent of the luminous flux reflected by
the louvre. This results in more precise
direction of light and higher luminous
efficiency, indicated by a luminaire
efficiency factor of 112lm/W.
www.zumtobel.com
Insta.................................................... 15
Instrument Systems.......................... 121
IstanbulLight..................................... 149
ISTL................................................... 108
Kim Lighting......................................... 3
KKDC.................................................. 35
Lamp................................................... 61
LEC-Lyon.......................................... 121
Leccor................................................. 97
LED Linear........................................ 156
LEDartist............................................. 97
Lee Filters .......................................... 85
LG....................................................... 39
Lightfair............................................ 147
Lightgraphix..................................... 103
Lucent................................................. 41
Lucifer................................................. 21
LUG.................................................. 125
Lumenpulse........................................ 23
Lunoo......................................... 89, 151
Mawa Design.................................... 151
May Design Series............................. 4-5
MBN................................................... 12
Nicolaudie.................................. 11, 151
Dim to Warm
Megaman
This latest line of LED products, fea-
turing Dim to Warm technology allows
improved performance following the
curve of filament lamps while enabling
LED lamps to emit a warmer light as
dimmed. It is also possible to offer true
fit sizes and shapes across Megaman’s
range of LED retrofit lamps, making it
the widest offer available with the look
and feel of old technology but with all
the benefits of LED.
www.megamanlighting.com
Orlight.................................................. 2
PLDC.................................................... 8
Precision lighting................................ 73
Pulsar.................................................... 9
Recolight.......................................... 125
Recom Electronic.............................. 129
Rising Dragon Technology................. 13
SAT................................................... 127
Sattler................................................. 27
Schréder........................................... 139
Seoul Semiconductor....................... 123
Signcomplex..................................... 115
SPARC............................................... 129
StrongLed......................................... 119
Studio Due......................................... 17
Times Square Lighting...................... 107
Tons.................................................. 123
Traxon e:cue....................................... 99
Truelux................................................ 91
Unilamp................................................ 7
Wibre................................................ 143
Wila.................................................... 59
XAL..................................................... 33
Xicato................................................. 65
This is my story
Improving together
“Atkins has opened up all kinds of opportunities
for me. If you perform well here - you get
noticed quickly. I was given more responsibility
and challenges, with training to deliver. And I’ve
enjoyed lots of variety, creating prestigious and
innovative lighting solutions from the Gatwick
Airport expansion to the Olympic Park legacy.”
John
Senior lighting designers
£competitive + great benefits | London or Epsom
Join our specialist lighting team in our building services
division and we’ll develop your talent and give you the
chance to shine. Making your mark on some of the world’s
biggest and most exciting engineering challenges, you’ll
play a lead role in creative and technical lighting projects.
From architectural to technical solutions in public realm
and cityscape, hospitality, sporting events and residential
and commercial developments, you’ll enjoy pushing the
boundaries and exceeding the expectations of our clients.
If you’re a talented leader, communicator and lighting
designer - your story starts here.

So, discover more and apply at:

www.atkinsglobal.com/LightingDesigners
Or contact Marie Kiernan on 0207 121 2675,
or email marie.kiernan@atkinsglobal.com
 Looking for
Trinity Leeds Shopping Centre

Lunoo is a lighting manufacturer located in

Belgium, focused on the contract market. With

SALES
our lighting solutions we are aiming at the best
shopping experience, the cosiest restaurant, the
perfect working atmosphere, ...

In order to expand our business we are looking

PARTNERS
for motivated sales agents in several countries
What’s your idea of with the purpose of establishing a long-term
business relationship.
inspiring
design?

// What do we offer? // Our ideal partner?

• Project-based lighting calculations • Has strong interpersonal skills and
and lighting plans able to build a business relationship
• Technical support with professional people.
• Representation and support for • Is experienced in project management
your region and lighting consultancy
• Commission on sales • Is looking for a long-term business
relationship

SENIOR LIGHTING DESIGNER // Interested?

BDP’s lighting team delivers people centred designs. Our work encompasses all aspects of artificial and natural lighting design both
in the UK and internationally. Team work, conceptual integrity and collaboration are at the heart of our working methods and we are Please contact Mr. Sven Callewaert
firmly committed to the sustainability of our environment. We have opportunities in our Manchester studio for suitably qualified and
experienced individuals to join our team at Senior Designer level and take responsibility for a wide range of exciting projects from
sven.callewaert@lunoo.eu
client brief to commissioning. Visit our website... +32 56 676 128
http://www.bdp.com/globalassets/careers/vacancies/manchester---senior-lighting-designer.pdf
the lighting company

WWW.LUNOO.EU

agenten2.indd 1 3/02/15 15:46

Mawa design, in manufacturing and marketing their own lighting collection,

has made a name for themselves in the last 10 years with the planning and
construction of custom lighting. Over the past 30 years, we’ve been well-known
as an accessories manufacturer, but today our core competence is in the field of
lighting design and the production of custom lighting.

Distribution Partner
To extend our capabilities, in addition to specialist lighting retailers, to public
buildings, museums, churches as well as banks, we are looking for a competent
distribution partner for Great Britain.

Your mission
Expansion and development of the market position for mawa design; Working
and accompanying projects in your territory; Further development of existing
client relationships; New acquisitions in the areas of retail, architects, planning
offices and specialty stores.

Requirements
Technical or commercial/business training; several years experience in provi-
ding consultant sales or project management involving technical, decorative
lighting with demonstrable sales success; Independent work ethic and a high
level of commitment; Pleasure in dealing with people; Dedicated team player
with a talent for organization; Flair for architecture and design

Our offer
We offer a very attractive success oriented income, as well as an interesting and
multifaceted variety of work.

We look forward to receiving your informative application:

Tina Krauß · t.krauss@mawa-design.de · www.mawa-design.de
mawa design GmbH · Neu-Langerwisch 36 · D - 14552 Michendorf
 darc night is coming
EVENT CALENDAR www.darcawards.com
 The LED Show LIGHTEXPO AFRICA LED Expo darc night
February 24-26 May 2-4 May 21-24 September 24
Las Vegas, USA Nairobi, Kenya Bangkok, Thailand London, UK
www.theledshow.com http://www.bizpromos.net/le/ www.ledexpothailand.com www.darcawards.com

LEDucation LightingTech Qatar sparc Iluminotronica

March 5-6 May 4-5 May 27-29 October 8-10
New York, USA Doha, Qatar Sydney, Australia Padua, Italy
www.leducation.org www.lightingtechqatar.com www.sparcevent.org www.illuminotronica.it

Light Lightfair International Lumibat IALD Enlighten Americas

March 25-27 May 5-7 June 2-4 October 8-10
Warsaw, Poland New York City, USA Lyon, France Baltimore, USA
www.lightfair.pl www.lightfair.com www.capurba.com/lumibat/ www.iald.org

Euroluce LEDTEC Asia Guangzhou Intl Lighting Exhibition PLDC

April 14-19 May 7-9 June 9-12 October 28-31
Milan, Italy HoChi Minh City, Vietnam Guangzhou, China Rome, Italy
www.cosmit.it/en/euroluce www.ledtecasia.com www.light.messefrankfurt.com.cn http://www.pld-c.com

IstanbulLight May Design Series London Design Festival Acetech

April 16-19 May 17-19 September 19-27 October 28 - November 1
Istanbul, Turkey London, UK London, UK Mumbai, India
www.istanbullight.com www.maydesignseries.com www.londondesignfestival.com www.etacetech.com

China Lighting Expo Smart Lighting LpS Interlight Moscow

April 22-24 May 20-21 September 22-24 November 10-13
Beijing, China Berlin, Germany Bregenz, Austria Moscow, Russia
www.chinalightingexpo.com www.smartlighting.org www.led-professional-symposium.com www.interlight-moscow.ru.messefrankfurt.com

A unique new in collaboration featuring member of partners

event from with
154 INSPIRATIONS / #29 NANOTAK STUDIO CURATED BY

www.nonotak.com

Nonotak is a
partnership between illustrator Noemi Schipfer and architect and musician Takami
Nakamoto. Despite forming in early 2013, they have notched up a number of impressive international
commissions. They caught our eye due to their unique fusion of projection and sound and we look forward to watching them go far...
Their chosen image is from one of their installations, DAYDREAM V3, which is part of an experimental series that demonstrates how it
is possible to sculpt light within a space. DAYDREAM V3 is an installation consisting of projected graphics onto semi transparent screens
to duplicate an original image. This makes visible the lens ratio of the projector like a cross section in architecture. They always use
black and white as they consider projection a light source and not video.
Nonotak say: “We chose this picture to illustrate how light is abstract. We always attempt to get close to a simple aesthetic and light is
our best medium for that. Light inspires us by its immateriality and flexibility. It can change the perception of any object and space.”
www.nonotak.com
Two sizes: 4” and 5” s Up to 12,800 lumens s Up to 103 lumens per watt s Zero uplight