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Arc-adv-june-okt-nov-OL.indd 1 30-09-14 13:40
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018 CONTENTS

[oct/nov]
Front cover pic: Jeppe Sørensen.

048 Interview
Robert Such talks to Tino
Kwan, founder of Hong
Kong-based TKLC.

DETAILS ART & DESIGN TECHNOLOGY

022 Editorial Comment 114 iLight Marina Bay 130 Case Studies
A hello and a goodbye. Light+heART was the theme of Asia’s only A selection of projects featuring innovative
024 Postcard sustainable light art festival. lighting and lighting control technology.
Courtesy of Factorylux and Light Collective. 120 Vivid Sydney Including: a dynamic sculpture in Amsterdam
026 Headlines Australia’s biggest light art event. (p130); the Discovery Museum in Newcastle
The latest industry news. 126 L-RO / IYL2015 (p132); Nayomi stores across the Middle East
028 Richard MacCormack More on Lighting-Related Organizations, part (p133); the Tivoli Vredenburg in Utrecht
Rogier van der Heide pays tribute. of United Nations’ International Year of Light (p134); the L.A. Live district in Los Angles
030 Eye Opener and Light-based Technologies 2015. (p136); the Oriental Pearl TV Tower in
Giant Cranes in Puna, Croatia, by Skira. 128 Dark Source Stories Shanghai (p138); the Banking Hall in London
032 Drawing Board Kerem Asfuroglu’s dark vision of light. (p140); illumination of the Queen’s art and a
Our preview of proposed projects. special art installation at the V&A in London
036 Spotlight (p142); and an award winning new Microsoft
A selection of brand new projects from 114 office in Stockholm (p143).
around the world. 144 Bench Test
042 Briefing Jonathan Morgan experiences the pseudo-sun
Mark Major discusses the inaugural Jonathan of CoeLux’s new Skylight.
Speirs Memorial Lecture. 146 Geoff Archenhold
044 Snapshot Dr Archenhold discusses the latest lighting
Introducing Into Lighting, who celebrate control developments.
their 35th anniversary this year. 148 Lighting Control Product
046 Lighting Talk A round-up of the lighting control products
This issue we talk to Jonathan Mizzi, currently available on the market.
principal of UK architects Mizzi Studios. 156 New Product
162 Inspirations The latest product launches.
Light Collective invite Lighthouse Design to 160 Event Calendar
open the light vortex. Your global show and conference guide.
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020 CONTENTS

[oct/nov]
Pic: © Lawrence Furzey

Online
Watch video highlights of this
year’s Vivid Sydney light festival.
www.mondoarc.com

MEDIA ARCHITECTURE MEDIA ARCHITECTURE PROJECTS

056 Media Architecture 077 Energy Tower, Roskilde 086 The One, Hong Kong
Hank Haeusler introduces this issue’s project A dual waste incineration and energy Lighting designers Firefly create differing
focus: media architecture. production plant has been given a façade lighting schemes for each section of this
scheme that celebrates the processes within. special restaurant.
058 Arboreal Lightning, Roundhouse,
London 080 Publicis Drugstore, Paris 094 WGV Casino and Guardhouse,
Architect Alex Haw’s groundbreaking A new LED layer by ECA2 adds an extra Stuttgart
interactive lighting installation created for element to the curved glass façade of the Pfarre Lighting Design develops a scheme
Imogen Heap’s Reverb music and technology Publicis Drugstore on Paris’s famous Champs that embraces the differing styles of the
festival at the Roundhouse in London. Elysées. WGV Casino and Guardhouse, a gift from
employee to employer.
064 BCP Affinity, Lima 082 Casino Bregenz
BCP Affinity, an interactive three- A new extension to Casino Bregenz features 100 Commonwealth Park, Gibraltar
dimensional façade installation in Lima an alluring façade of colour-changing lines. David Atkinson Lighting Design delivers
created by designers Claudia Paz and a contemporary scheme for the new
Nicholas Cheung, treats a bank building as a 084 Rhône Archives, Lyon Commonwealth Park on Gibraltar, blending
canvas for creativity. Les Éclaireurs bring some Greek drama to traditional British values with mediterranean
the golden façade of the Rhône Archives. style.
070 L’Avenue, Shanghai
Australian lighting manufacturer Illumination 108 Finch Avenue Optometry, Toronto
Physics has collaborated with Japanese Bortolotto blend sculptural architecture with
architect Jun Aoki to create the stunning layered lighting to produce an eye-catching,
media façade for this Shanghai tower. modern scheme.
 I’m a museum director.
I don’t display art.
I stage it.
The building in which I work is not a building.
It’s a temple.
A temple of dreams.
Of fantasies.
Of reality.
Here, every visit becomes a journey.
An unforgettable journey.
Accompanied by colour, material, light.
I’m a museum director.
I don’t display art.
I stage it.

Inspiration is found wherever you look for it.

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

ERCO, the Light Factory.

078_motiv_05_en_236x333_MonArc_right_DC.indd 1 29.08.14 09:39

022 DETAILS

[editorial]
Paul James, editor, writes: Now that you’ve picked up your copy
of mondo*arc, unless you’re active on social media, you probably
won’t be aware that there are two covers available for this edition.
There were so many stunning images of the Energy Tower in Roskilde,
Denmark that we could have chosen at least four different covers
but we didn’t want to go over the top. That’s the beauty, and the
pitfall, of media architecture. It has the ability to totally transform
a building, and then to keep on going again... and again... and again. I know media
architecture has its critics but when created by architects and / or lighting designers who
understand the process, for the right type of building (industrial monoliths seem perfect)
there seems to be no better way to create the ‘Wow’ factor. These designers will be
descending upon Aarhus on November 19th for the Media Architecture Biennale and we’ll be
there too, with both versions of the magazine. You’re welcome to take the extra edition if
you want to complete your collection.
It is with great sadness that I have to say goodbye to mondo*arc’s deputy editor and the
editor of darc magazine, Pete Brewis. Pete explains more below but after twelve years with
the company he has decided to spread his wings and travel the world, this time for pleasure
rather than attending trade shows. Good luck, Pete. It has been a pleasure.

Pete Brewis, deputy editor, writes: I’ve been writing about light
for twelve years now. At first it was the entertainment world. Of
intense lasers, gobos, colour wheels and dichroic prisms. Magic words
wrapped in moving heads; spectacular sights for crystal clear sounds.
The story was energy, excitement and escape.
Then came mondo*arc and the world of architectural lighting
design: a much broader depth of field that seemed to encompass all kinds of big ideas.
Suddenly, the story wasn’t just about looking good, it was about feeling good (rods and
rhythms, colours and clarity); about being good (economics and ecology); about future-
thinking and retrofitting; about art and science; about creating spaces that engage people
and with which people can engage. It’s been a fun story to write - not least because of the
inspirational folk I’ve had the pleasure of meeting along the way - but the road is calling,
so it’s time to take a break from the keyboard. I’ll be sauntering through South America,
before roaming round the Pacific Rim - if you see me in your city, be sure to say hello! Until
then - sincere thanks and bye for now!

Editorial Subscriptions
Editor Amy Wright
Paul James (a.wright@mondiale.co.uk)
(p.james@mondiale.co.uk)
Production mondo*arc magazine ltd To subscribe visit
Deputy Editor Waterloo Place www.mondoarc.com
David Bell
Pete Brewis Watson Square or call +44 (0)161 476 5580
(d.bell@mondiale.co.uk)
(p.brewis@mondiale.co.uk) Stockport SK1 3AZ
Mel Robinson United Kingdom mondo*arc, ISSN 17535875,
Editorial Assistant (m.robinson@mondiale.co.uk) T: +44 (0)161 476 8350 is published bi-monthly by
Rob Leeming F: +44 (0)161 429 7214 Mondiale Publishing, Waterloo
(r.leeming@mondiale.co.uk) Dan Seaton
www.mondoarc.com Place, Watson Square,
(d.seaton@mondiale.co.uk)
mondo@mondiale.co.uk Stockport, Cheshire, SK1 3AZ.
Advertising Chairman
Advertising Manager Damian Walsh Printed by Buxton Press, Palace Subscription records are
Jason Pennington (d.walsh@mondiale.co.uk) Road, Buxton, UK maintained at Waterloo Place,
(j.pennington@mondiale.co.uk) Watson Square, Stockport,
Finance Director Annual Subscription rates: Cheshire, SK1 3AZ.
Advertising Sales Executive United Kingdom £30.00
Amanda Giles
John-Paul Etchells Europe £50.00 Spatial Ltd is acting as our
(a.giles@mondiale.co.uk)
(jp.etchells@mondiale.co.uk) ROW £65.00 mailing agent.
Advertising Sales Credit Control
Alex Brackin Donna Barlow
(a.brackin@mondiale.co.uk) (d.barlow@mondiale.co.uk)
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Das gute Licht.

For a welcoming reception.
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
featuring ‘decorative lighting in architecture’. Each issue, Light Collective will explain the reason for their
choice and then, inserted in each edition, will be a limited edition print.

#2 Temple of Karnak, Luxor

Ok, so we may have been trying to fox you about whether the temple of Amun was built
on this one and make you work harder. No to align with the winter solstice or it occurs
instant recognition on this image. We have only by accident. This may or may not be
cropped our pick and the ink is yellow but architectural myth but it is without doubt
we think there’s a clue in that… that the inner spaces of the temples were
When we talk about beautifully daylit designed to shield out the sunlight and to
spaces, we think people tend to usually create dark, sacred space where the ancient
cite modern daylit design so we wanted to Egyptians could house their gods.
redress this by including a building that is Despite it being the number two tourist
extremely old. If you haven’t worked it out destination in Egypt and overly familiar as
already, this image is a small piece of the the backdrop for many movie scenes (Death
largest ancient religious site in the world; on the Nile, The Spy Who Loved Me, Tomb
the Temple of Karnak in Luxor, Egypt Raider, The Mummy Returns etc), wandering
which dates from around 2000BC and is through the huge columns is a journey
a protected World Heritage Site. through light and shadow, warmth and cool
The word Karnak translates as ‘the and a reminder that our beautiful sun should
most selected of places’ and the be at the centre of architecture as it is the
temple is dedicated primarily to heart of our daily lives. Also as an added
the Pharaoh Amun and began lighting bonus, if you stay on until evening
construction in his reign. It you can watch the Karnak Son et Lumiere
took another 1,300 years that tells the story of its dramatic history
and additions from 30 more and highlights the ancient ruins.
Pharaohs (including Queen We visited the Prelogram factory (Urban
Hatshepsut) until it was Cottage Industries’ print business) this
finally complete in the week, to watch this postcard in production
reign of King Ramses II. The and have now seen the card being printed
complex is huge, covering around first hand. The machinery and process used
one mile by two miles in area and includes to print and number are old, not so old
several of the finest examples of ancient as Karnak but definitely from a previous
Egyptian architecture. Among them are the era. 12,000 cards, one for each copy of
Hypostyle Hall, the Temple of Amun and the mondo*arc, individually embossed and hand
Avenue of the Sphinxes that once stretched numbered make these cards something
© Jack Fields/Corbis
for two miles. The Temple of Amun is so worth keeping and we hope that you are
big that at least three European cathedrals enjoying them.
* Missing your Factorylux limited
would fit within its walls. Also, if you love tungsten filament lamps
edition card? Then contact Amun became known as the deity Amun- and wish you could find a replacement, we
hello@urbancottageindustries.com Ra as he became more than a Pharoah and also suggest you check out the Eco-Filament
for a replacement. merged with the sun god. Having always technology that Factorylux has referenced
loved the story that one of the temples on the reverse of this edition:
was designed so that on only one day of www.urbancottageindustries.com/filament-
the year, sunlight penetrated into the inner light-bulbs/low-energy-light-bulbs
space and illuminated his gold statue, Light www.urbancottageindustries.com/factorylux
Collective are sticking with it and ignoring www.lightcollective.net
the historical and architectural debate
Occhio »next generation« LED: energy efficiency class A+ /  A .

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Light reinvented for you.
Sento – the LED revolution.
occhio.de
026 DETAILS

news headlines For the latest news stories, head

online: www.mondoarc.com

Into and David Yeo win for

Philips to launch focused
Hutong lighting
Lighting solutions and
(UK) - Into Lighting and David Yeo win HealthTech companies
Best Lighting Scheme at the Restaurant
(UK) - Philips will begin to transition the
and Bar Design Awards 2014 for Hutong
Lighting solutions company into a separate
Shard restaurant scheme.
legal structure.
Read the full story online...
Read the full story online...
1

MEGAMAN launches
International Project Division
(UK) - New division, headed by Ciaran Kiely,
officially launched at lightjunction
in London.
Read the full story online...
2 3

Truelux Group rebranded and

relaunched
(UK) - LED distributor to work in two core
business divisions: Lighting and Interiors
with four brands Truelux LED Distribution,
Truelux Lighting Solutions, Truelux Interior
Solutions, and Truelux LED Project Finance.
4 5 Read the full story online...

Rogier van der Heide joins

CLD merges with Iberian
Zumtobel Group
Lighting
(UK) - Rogier van der Heide appointed as
(UK) - CLD Distribution to become
Chief Design and Marketing Officer for the
major shareholder in bespoke lighting
Zumtobel Group and its three brands Thorn,
manufacturer.
Tridonic and Zumtobel.
Read the full story online...
Read the full story online...
6
scan QR code to link to
the latest news online

Pasquale Quadri 1947 - 2014

(Italy) - ‘Paky’, Founder and Chairman of

Clay Paky SpA, passes away.
Read the full story online...

In pictures 1 Hutong is one of three restaurants at the Shard. 2 Ciaran Kiely, head of Megaman’s new International Project Division. 3 Philips will consider various options for alternative
ownership structures for the new Lighting solutions company, with direct access to capital markets. 4 Rogier van der Heide. 5 The new group will continue to distirbute brands such as Toshiba,
Soraa, ELR and Megaman. 6 L-R Iberian’s Tim Gorrange, Richard Davis, and Les Allitt with Roger Willems from CLD Distribution / Penn-Elcom. 7 Pasquale Quadri.
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1887_00_334_ADV_CrispWhite_236x333_UK_mondo.indd 1 7/24/14 12:39 PM

028 DETAILS

[tribute]
RICHARD MACCORMAC 1938 - 2014
Rogier van der Heide remembers architect Richard MacCormac who died on July 26 aged 75.

Richard MacCormack and his iconic London projects, BBC Broadcasting House and the Wellcome Wing at the Science Museum, created with Rogier van der Heide.

I can’t express how thankful I am to Richard. When we met for the Throughout the project, he was incredibly productive, and Richard’s
first time, I ran a small lighting design practice in Amsterdam. It drive and inspiring collaboration meant we even created a model
was 1997, and Richard was very proud that we had met each other of part of the Wellcome Wing scaled 1:5 so we could witness the
over the internet; he told it to everybody. It made him feel just so interaction of all the details we developed. We put it up in his
snazzy! Richard was looking for a lighting designer for the Wellcome lobby, where Richard called it “The Big Architect’s Killer” (it looked
Wing at the Science Museum, and invited me to present myself and like a giant version of a blue light insect killer of the type you find
my work. Me, not knowing what to expect, brought slides (we did at the butcher). It was his humour and self irony that could always
not have a video projector at that time) from the opera ‘La Fedelta brighten up any situation, and Richard’s charm meant that everyone
Premiata’ by Joseph Haydn. I had designed the lighting as a deep wanted to collaborate with him, or be near him at least.
blue backdrop, with the soprano in bright orange in front of it, We completed Richard’s Wellcome Wing and continued working on
wearing a custom-made crown with little lights. many projects together: an exhibition in the John Soane Museum,
Richard loved the images of the opera, in particular the deep blue. work for Tate Modern, for Tate Britain, advise on his projects such as
We discovered that we share a real passion for that magic, electric the deep blue Southwark tube station with Alexander Beleschenko
blue, slightly disturbing because the human eye is so insensitive and, of course, in 2002 Broadcasting House, the building that
to it. That day I got to know Richard’s unique intelligence, broad allowed the BBC to consolidate in the centre of London. We
cultural interest, and incredible curiosity for everything and designed – in Richard’s beloved deep blue – a holistic and integrated
everyone, not to mention his great ability to share and to inspire. lighting scheme. It is a shame that the project did not end
Richard was genuinely interested in my ideas like no-one was favourably for Richard. He got sacked because he stood strong for
before. We talked the rest of the day about blue and orange, about his principles, and moreover for his people, due to over 300 design
James Turrell and how we would work on the Wellcome Wing. We changes and probably as many budget cuts. It characterises Richard
started a collaboration and friendship that continued until this year. that, this year, he phoned me up to ask to write to the BBC, and
In Spitalfields, the place where everyone seemed to know Richard explain to them what their building lighting could have been. For
and where he found his love Jocasta who moved in next door, I Richard, that was natural, he did exactly what he did so many
sometimes had soup with them in her kitchen; Jocasta curiously times before: working without compromises, and not giving up. An
asking about life in Amsterdam, and Richard just watching her and architect’s architect, who defended his principles and his ethics
loving her. For the Science Museum, we designed ‘The Big Blue until the very end.
Space’ as we called it, and Richard could always open up your mind When we presented a talk together in London or elsewhere, fifteen
for something new. He was passionate about developing a way to minutes before Richard always suggested a visit to a nearby pub to
detail and execute the lighting design very precisely. have a glass of wine… or two. As a speaker, Richard was very gifted,
We created a series of scale models to explore the interaction of with natural charm and intelligence. He made an effort to always
light, space and a newly designed material: a fibre glass, translucent engage his audience. Even in that sense I learnt a lot from him. Oh,
scrim, floating in front of the concrete walls, the gap being filled and he recently wrote a book, ‘two houses in Spitalfields’, about
with light of Richard’s favourite, deep blue colour. Richard came the homes of Jocasta and himself. Next to each other and filled with
several times to Amsterdam, to work in our lab: looking through one illusion, and so many stories… With secret doors connecting them
metre long cardboard tubes we took an ‘isolated view’ on exhibitry, and with the many colours that Jocasta brought to Richard’s life.
slowly increasing the amount of blue light until Richard detected it And my friend is now dead. I miss Richard MacCormac dearly; I am
and shouted “Stop”! We then measured the blue illuminance and just so thankful to him. It is by no means an exaggeration to say
used those numbers to further develop the louver system for the that my career as a lighting designer has been defined by Richard’s
façade. Who had ever designed a building that way! presence and involvement early on. It makes him one of the most
I think it is his real appreciation for the sensory world and bringing special people. Thank you Richard, I am happy that for you, being in
that to modern architecture that characterises Richard’s work. heaven, the sky is always blue.
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030 DETAILS

eye opener
Lighting Giants, Pula, Croatia

In addition to its plethora of historic monuments ranging from the classical

antiquity to the remnants of the Austro-Hungarian Empire, the Mediterranean
city of Pula is known by its shipyard Uljanik, one of the oldest working yards in
the world. Uljanik, built in 1856, is again the focal point of the city: its majestic
cranes are bathed in lights designed and devised by lighting designer Dean Skira.
The Lighting Giants project was originally conceived in 2000 in Skira’s
architectural lighting design practice and last year was finally supported by
the Tourist Board of Pula, shipyard Uljanik and sponsored by several private
companies. Apart from this purpose-allotted incentive, the project was fully
privately funded.
The eight cranes are functional as well as monumental. The shipyard is active
and continues to build ships, which makes this project unique in the world.
The cranes were illuminated with 73 Philips RGB LED spotlights, weighing 40kg
each. Each light consists of 64 pieces of LED chips that can be programmed to
16,000 different variations of colour and intensity. Blinds were used to prevent
unnecessary dispersion and light pollution and to create additional diffusion
effects.
Pula’s Lighting Giants were lit for the first time during Visualia, the festival of
light in collaboration with the Tourist Board of Pula. The night walk reached its
luminous finale in front of thousands of visitors at the Pula seafront, with cranes
being lit dynamically to a music score. The cranes continue to shine for fifteen
minutes on every hour from 9pm till midnight, giving the city of Pula a living
sculpture to be proud of.
www.skira.hr

Pics: Goran Sebelic

031
032 DETAILS

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

DREAMSCAPE
With 40 floors and a gross floor area voids that carve through the centre of the textural architecture. Revealing its textural
of 150,000 square metres, the fifth tower, merging traditional architectural façade and flowing through the entrance
hotel tower at City of Dreams in Macau elements of roof, wall and ceiling to create into the interior envelope of the dramatic
(developed and owned by Melco Crown a sculptural form that defines many of the entrance and lobby atrium, animation will
Entertainment) will house approximately hotel’s internal public spaces. be used to reflect the dynamism of the
780 guestrooms, suites and sky villas as The tower’s exposed exoskeleton reinforces spaces and their complex forms. The lit
well as guest facilities including gaming, the dynamism of the design. Expressive effect will be a sophisticated statement
restaurants, spa and sky pool. and powerful, this external structure piece, responsive to the materials,
The design by Zaha Hadid Architects optimises the interior layouts and envelops structures and visual impact of this iconic
combines dramatic public spaces and the building, further defining its formal building.
generous guest rooms with innovative composition and establishing relationships The project is expected to open in early
engineering and formal cohesion. The with the new Cotai strip. 2017.
rectangular outline of the site is extruded The lighting scheme by Isometrix will be www.zaha-hadid.com
as a monolithic block with a series of seamlessly integrated with Hadid’s iconic www.isometrix.co.uk
 LIGHT
DEFINES
THE EXPERIENCE
US National Archives and Records Administration
Washington, DC

At the US National Archives, designers Available Light

used Lumenpulse luminaires with high CRI to improve
the visitor experience and meet strict conservation
requirements. Read the whole story at lumenpulse.com.

pub-mondo-arc-national-archive.indd 1 2014-08-04 4:26 PM

034 DETAILS

[drawing board]

ICE MOUNTAIN
Located in the centre of Chengdu’s booming will be enhanced with a high performance
Dongcun district, the extreme height of lighting scheme by Office for Visual
Chengdu’s newest ‘Supertall’ skyscraper Interaction (OVI) emphasising the tower’s
presents a completely new set of lighting crystalline structure and impressive height,
challenges to illuminate the 468-metre establishing its unique position in the city
faceted, glass tower, the centrepiece of skyline.
a new mixed use complex, which will be Due to the nature of the Supertall tower’s
southwestern China’s tallest building and extreme height, floodlighting is no longer
the fourth-tallest in the nation. a viable option for the façade lighting.
The design for the complex by Smith+Gill Instead, OVI has carefully detailed LED
Architects includes the main tower (office, luminaires concealed within architectural
luxury hotel and CEO suites), two small reveals between each facet along the height
towers (high-end apartments) and a six- of the tower. The reveals are activated at
story retail podium and conference centre night with a combination of both white
with a total building area of 395,300sqm. and blue light. Employing lighting control
The design of the complex was inspired by systems, the lighting will be programmed
the unique ice mountain topography around to produce various dynamic effects that
Chengdu, echoed in the peaks and valleys of animate the ‘peaks and valleys’ of the
the tower’s faceted façade. Throughout the faceted façade.
day, the sunlight reflects in a dynamic play www.oviinc.com
of light and shadow. At night, these facets
 Dame à la Licorne
Photography: Jean Garcin

circa 1500

Musée de Cluny

National Museum of the Middle Ages (Musée de Cluny) Paris

SEN100 - 30° - 3800K - CRI (90)

Architect: Atelier CAIRN Paul Barnoud, ACMH. Lyon
Lighting Design: François Magos. Paris
www.kkdc.co.uk
036 DETAILS

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

Pic: James Newton

SPHERES OF INFLUENCE
Having developed the Lighting Masterplan For Speirs + Major, the challenge was to aerial perspective to the vista. The effect is
for the Olympic Park and Olympic Ath- provide lighting that would support the reminiscent of light filtering through a for-
lete’s Village for 2012, Speirs + Major was joyful character of the park design, as well est canopy, and has an engaging and playful
appointed to work on the ‘Transformation’ as ensuring that users would feel safe and character, animating people with light and
as part of the competition winning team led secure, and could continue to use the facili- dark as they stroll along the pathway.
by James Corner Field Operations (JCFO) ties of the park as natural light faded. They The other elements of the park are each
and MAKE. Speirs + Major developed the also looked to see how existing equipment treated with respect to their purpose and
conceptual ideas for the lighting and then from the games could potentially be re-used desired character. Routes, hubs, open
specified and detailed the routes, open wherever possible. spaces and landscape elements have all
spaces and landscape elements for the rein- The centrepiece of the lighting approach is been considered with a layered approach
vented public space. Michael Grubb Studio a unique catenary system developed for the that takes in amenity lighting where needed
were then asked to deliver the project by Promenade - the main navigation route that for safety and sense of security, and adds
contractors SKANSKA, and worked tirelessly stretches from Orbit Plaza, home to the highlights to landscape elements such as
to ensure that Speirs + Major’s ideas were ArcelorMittal Orbit, through to Carpenters swing seats and abacus ladders to bring
brought to life. Lock. Here, Speirs + Major proposed a dap- moments of playfulness and warmth and
Positioned as a new heart for East London, pled light from ethereal moon-like spheres add legibility.
the park is the latest addition to London’s suspended over the pathway, framed by www.speirsandmajor.com
impressive array of open green spaces. The gently highlighted tree canopies to each www.michaelgrubbstudio.com
design from the JCFO/MAKE team has de- side. The interior of each sphere is painted
livered a diverse and exciting public place, with a colour that gradually shifts in shades
integrating the iconic sporting venues and from blue to green over the length of the Notable suppliers: Mike Stoane, Xicato,
attractions with parklands, waterways, and promenade - a painterly technique used to Philips, Bega, acdc, iGuzzini, SH Structures
numerous play spaces for people to enjoy. create a sense of depth of field and lend
 037

Pics: Guy Bell

TOIL AND TROUBLE

Early in June this year, the Museum of Lon- felt that this was one of the few times that the AV.
don asked DHA Designs to provide a lighting lighting was really part of the exhibit. It The gallery and the lighting have been well
scheme for their new gallery, built to house was essential for us to be appropriate and received by the public. Elpie Psalti, Mu-
the London 2012 Olympic Cauldron. subtle, especially in a confined space, and seum of London major exhibitions project
Working closely with Thomas Heatherwick to emphasise the astonishing design and manager said: “The exhibition’s key aim
studio and the museum and exhibition engineering of the Cauldron.” was to present that defining moment of the
designers Drinkall Dean, DHA Designs was As the Cauldron was originally designed London 2012 opening ceremony when the
challenged with creating a lighting scheme to be aflame and fold choreographically, Cauldron was revealed to the world and
to reveal the sculpture of the Cauldron and changes in colour, intensity and focus of rose up carrying the Olympic flame. Light-
to the recall that magic moment during the light are now used to animate it, while ing has played a crucial role: atmospheric,
opening and closing ceremonies when Lon- uplighting in between the stems emphasises evocative and in sync with the AV exhibits,
don was the focus of the world’s attention. the complexity of the structure and the it brings back the magic of the event and
Parts of the Cauldron are displayed in both scale of the design, silhouetting the outer manages to create a strong emotional re-
their open and closed, vertical forms. Two perimeter of the stems.  sponse from our visitors.”
different short films are projected on AV Soraa lamps (10 degree at 2200° CTO) were www.dhadesigns.com
screens adjacent to the Cauldron, and the used between the stems uplighting the
lighting synchronises with them. Petals of the open section. Chauvet RGB
Panos Andrikopoulos, lighting designer at floodlights are used for the open section Notable suppliers: Soraa, Chauvet, ETC,
DHA Designs, said: “It was obvious for us: (including the shelving in one scene) and Pulsar, Basis Lighting, Pharos
the lighting should refer to the ceremonies, ETC Source 4 Mini 12W LED projectors are
enhance the sculpture and be part of the used for the graphics on the wall and the
narrative of the gallery, acting as a visual display shelves. Pulsar Chromapoints are
link between the AV and the exhibit. We used inside the petals, synchronised with
038 DETAILS

ALL RISE

[spotlight] A three-month long initiative by Nike

followed the journey of 30 amateur kids
drafted from all over Greater China via
weekly real-time broadcast episodes. The
show was the first social basketball reality
program in Greater China hosted by China’s
TV superstar ‘Blackie’ and featuring Nike
athletes including Kobe Bryant, LeBron
James and Yi Jianlian.
To push the RISE players to their limits, they
were challenged to show their skills to Kobe
Bryant in a state-of-the-art basketball space
in Shanghai called the House of Mamba.
AKQA worked closely with Nike to design
and develop the RISE experience. To pro-
duce the LED court, AKQA teamed up with
Rhizomatiks from Japan and WiSpark from
China.
The court is made of LED screens and
equipped with motion-tracking technology
that allow the RISE players to follow floor
commands lit up on the surface. Computers
can plug directly into the court to control
the screens, bringing instructional graphics,
video content, live feed and player-tracking
to life. Through the reactive sensors and
software it was possible to track the play-
ers’ movements, their speed and velocity,
change of direction, time and completed
drills during the training and events.
For the House of Mamba event the court
ran five bespoke drills inspired by Kobe’s
training and playing style, enabling the
RISE players to develop and measure their
skills with counsel from Nike and Kobe along
the way. Each drill used reactive sensors,
instructional graphics and artificial intel-
ligence to intuitively react to a player,
making each drill individual.
www.nike.com/cn/zh_cn/c/basketball/rise

FORGING AHEAD
Running from September 8th, ENERGETICON
in Alsdorf near Aachen is showcasing new
ideas about energy and new emotional ways
of looking at it. For what used to be the
largest coking plant in western Europe, ATE-
LIER BRÜCKNER has designed an interactive
exhibition that covers an area of around
3,000 square metres and is dedicated not
only to the fossil-fuel era but also to the
age of regeneration.
The Forge’s heat source, which mimics
the sun, features layers of resin in several
different thicknesses. Individually address-
able LEDs have been placed behind the shell
creating a pulsating effect.
Standing directly beneath the installation
the visitor experiences the intensity and
light of the sun.
www.atelier-brueckner.com Pic: Thomas Mayer
 LS-Live
Elektra Lighting

Cinimod Studio
Ingo Maurer

Magic Monkey

Lighting Without Limits.

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technology capital, we create high quality lighting solutions to
match the specific requirements of each of our customers with
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LWL - Projects.indd 1 10/09/2014 15:18

040 DETAILS

[spotlight]

HAVING A BLAST
A complex network of cylinders, tubes, like Sergej Eisenstein. Large parts of the the square between the furnaces and the
pipes, stairs and beams rise up to the im- furnaces are left in darkness; others seem area in front of the ‘Maison de Savoir’, a
pressive height of up to 94 metres. The two to be lit up randomly. Their shadows appear central building of the new university. They
disused blast furnaces are towering over on large tubes behind. Some parts of the are the first ‘street lights’ designed by Ingo
‘Place des Hauts-Fourneaux’, a plaza in rusty pipes seem to glow, but only glimpses Maurer. The white disks have a diameter
Belval, Luxembourg. It is the core of a new of them are visible between other dimly lit of 420cm and are kept above the ground
quarter. Over the ground, five large white pipes. Here, he uses some orange lighting, at a slight angle by three slender, matt
disks seem to hover, lighting it up. to emphasise the rust. A searchlight is part black poles with a length of approximately
“Standing in front of the furnaces is a of the installation, to be used on special five metres. At the bottom, several curved
very moving and emotional experience. occasions. For Ingo Maurer and his team, openings of various lengths are equipped
They are the ‘cathedrals’ of the new part it was essential to capture the spirit of the with recessed LEDs. This design provides
of Esch-sur-Alzette,” said Ingo Maurer in place and to underline the role of the fur- lighting for the floor and avoids unwant-
2008 during a test lighting. “It was a huge naces in the newly built surroundings. ed upwards scattering of light. Additional
challenge to provide a fitting lighting con- Ingo Maurer also provided consulting for the spotlights brighten up the disk themselves,
cept, and of course it is also a challenge to colours and varnishes used on the tubes. which are hovering in the air like shining
conserve them.” Many of them have been painted in a warm UFOs, creating bright pools of light below.
On July 4, 2014 his lighting concept for grey tone. To conserve the rusty tones of Ingo Maurer named his design ‘GuddeVol’,
Esch-Belval was inaugurated. It consists other pipes, a specially developed clear (luxembourgish for ‘Have a good flight’).
of the lighting of the blast furnaces and varnish has been used. The circular shape and the bright white
‘street lights’. In 2006, he was commis- The lighting concept offers several settings. colour introduce two new and distinct
sioned to design the concept and decided to Apart from the festive lighting, there is a elements, adding a friendly, positive and
use mainly white light in various nuances. slightly reduced ‘everyday’ version. A third dynamic touch to the surroundings.
The widespread use of coloured illumina- version, for national holidays, is being www.ingo-maurer.com
tion of landmarks did not seem appropriate. planned.
Instead, he uses distinct contrasts of bright A second, stunning part of Ingo Maurer’s Notable suppliers: Pulsar, A&O, Martin
and dark areas, inspired by movie directors concept are the objects that will light up Professional
042 DETAILS

[briefing]
MARK MAJOR
We speak to the principal and fellow founder of Speirs + Major who gave the first Jonathan Speirs Memorial
Lecture in Glasgow City Hall, organised by the Society of Light & Lighting.

How did the Jonathan Speirs Memorial Lecture come about? What are the long-term aims of the Fund?
I was approached by CIBSE and the Society of Light & Lighting who asked Simply to keep it going, keep it funded. A lot of people have signed up
my opinion about the plans to set up a Memorial Lecture in Jonathan’s for ten years, so the security of the Fund is assured for the next decade,
name and I thought it was a great idea. And when I heard that the plan which is fantastic.
was for it to be based in Scotland I thought it was an even better idea.
And it’s great that the lighting community has recognised his work in And how would you like to see the Memorial Lecture develop?
the same way that the architectural profession has; he was honoured by That would be up to CIBSE and the SLL, but I’d like to see it as a
the Royal Incorporation of Architects in Scotland (RIAS) with its Lifetime platform for two things. First and foremost, as a platform for lighting
Achievement Award - the highest accolade within Scottish architecture. designers to talk about their passion for light, but also I hope that it’s a
platform for Scottish lighting design. Jonathan was proud to be a Scot
How inspirational was Jonathan? and Scotland has an interesting history in modern lighting design, with a
Jonathan was an enormously inspirational figure. He was a very strong lighting community. It’s great to see an annual lecture programme
extrovert character, with immense charisma and the most unbelievably in Scotland because they deserve recognition for what they’ve achieved.
enthusiastic person you could ever meet. When you talk about people
being a glass half-full or half-empty person, his glass was constantly What topics did you address in the lecture?
overflowing. He had an enthusiasm for light, architecture, for life as The theme was ‘Light + Dark = Architecture’. I like that title because I
a whole; he was one of those guys that makes people smile, laugh, think it clearly and accurately suggests that the creation and revelation
enthused. When he died, I received so many emails from all over the of architecture is not just about light, but it’s also about darkness and
world, not just from his friends and contemporaries, but from young somewhere in between - it’s those sorts of conversation that Jonathan
lighting designers as well, and all could remember when they met him and I had over many, many years. Quite often less can be more, and
and the conversation they had. Many remarked on how what he said simpler can be better, when it comes to the world of lighting design.
had given them drive or changed their direction. It was amazing reading When you look at the most beautifully-lit projects, and the most awe-
those emails. inspiring buildings, often the idea behind the lighting is quite simple.
I highlighted Jonathan’s early years in lighting design, both at LDP where
And what was it like working with him? we both worked in Edinburgh in the mid-1980s, and the early years of
We did have different temperaments and we complemented each other Speirs + Major. I used projects as well as other images - his, mine and
incredibly well. We were almost inter-reliant. Although he was based others from the practice - to illustrate our philosophy and approach. One
in Edinburgh and I was in London, we would exchange views daily; of the biggest challenges with the lecture was trying to distill everything
particularly after a big meeting, we would have a chat. And later that down to make that philosophy as clear and simple as possible. It’s about
would manifest itself when one of us would say: “I’ve been thinking light, darkness, change, the passage of time, the movement of light, the
about what you said last week and...” We kept each other sane. connection between natural and artificial light, how that changes over
time, often working in harmony.
How are things going with the Jonathan Speirs Scholarship Fund? In the second part of the lecture I showed some of the projects the
It’s doing really well. Myself and my fellow trustees talked to Jonathan practice has completed since Jonathan’s retirement in 2010. Things
about the Fund before he died and didn’t give him a choice really. Both change of course; markets change, technology changes, people
he and I came into lighting design from architecture. It was quite change and clients change, but I think Jonathan would be proud
a daunting move and one or two people thought that lighting of what’s been achieved - for example, the ‘In lumine tuo’
design had no future - how wrong they were! Architecture is a project in Utrecht has won a Radiance Award from the IALD.
highly vocational discipline and it’s a long course with huge I think the philosophy that we established all those years
costs and a lot of hard work and graft, so it’s a big step to ago is still guiding us today.
give all that up to take up lighting design.
You have to be kind of brave or mad. I think we were a bit What was the experience like to give the inaugural
mad, but our enthusiasm drove us along. There’s a danger lecture?
now, with student fees, that people are increasingly reluctant I was really delighted at the turn-out. It was good to see
to take that step without some kind of support, so that was such enthusiasm for a lighting lecture. I understand
the purpose of the Fund - to offer support and encourage from SLL and CIBSE that they are aiming to make
architects to make the transition to lighting design. it an annual event. I very much hope that is
We’ve had huge support from the lighting industry, as the case as it will provide an interesting
well as individuals. Alex Stewart [a Masters student new forum for lighting designers to meet in
from the School of Architecture at Parsons, The New Scotland – something I am sure Jonathan
School for Design, New York] was the first recipient of himself would have smiled upon.
the £10,000 Fund and we are just at the stage now www.jssf.org.uk www.cibse.org
where we are raising awareness among this year’s
students.
 Comprehensive lighting
knowledge is just a click
away at www.sll.org.uk

Anyone involved in the manufacture, sale, design or who just has an

interest in lighting can join the Society of Light & Lighting (SLL) and
have continuous free access to online versions of the latest Lighting
Guides, Codes and research – not just to view but to download.

New editions of LG10: Daylighting and window design, LG8: Lighting for
museums and art galleries and LG12: Emergency lighting design guide
will be available in autumn/winter 2014.

The Society is one of the world’s leading lighting

organisations: with more than 2,500 members in over 30
countries and the producer of Lighting Research & Technology.
For more information:
• visit www.sll.org.uk
• tel: 0208 675 5211, e-mail: sll@cibse.org
Quoting reference code SLLLUX2014.

SLL Ad 4 - knowledge.indd 1 25/09/2014 10:29

044 DETAILS

[snapshot] Introducing Into Lighting who celebrate their 35th

anniversary this year.

CUCKOO CLUB, LONDON

CLIENT: UNICORN CITY
INTERIOR DESIGNER: BLACKSHEEP

A very unique lighting scheme was to be designed to reflect

on a most exclusive private member’s club. The Cuckoo
Club operates as a ground floor restaurant early evening,
later spilling into a basement dancefloor. It was important
that the basement did not include the obvious moving head
club lighting, but an architectural lighting system that would
separate the venue from the competition. The lighting
utilised the available LED technology of the time to create the
maximum dynamic colour changing effects available within
budget. The ground floor scheme uses DMX controlled LED
colour change strips with narrow optics to fill a light box ceiling
which then appears to be a huge pixilated panel of individual
domes, made bespoke for the space. For the basement
dancefloor, into developed tiny colour change pixels within the
ceiling that change with sound to light. Staff can trigger static
colour changes or switch to sound-to-light strobing. The scheme
was programmed extensively to enable features not previously
envisaged by the client and was achieved in budget. The
project became a forerunner for future club LED effects and to
further similar projects for into.

IL MILIONE, HONG KONG

CLIENT: SAVOURS GROUP
INTERIOR DESIGNER: DESIGNLSM

IL Milione is the first Asian restaurant for Michelin-starred chef

Marco Gubbiotti, and serves Italian food in a luxurious Hong Kong
setting. into was appointed to the project by interior designers
designLSM to design the lighting for all areas. It was their first
work in Hong Kong. The project was not easy, a low ceiling and
little natural light meant it was important to ensure a suitable
level of ambient lighting for lunchtime diners as well as creating
the environment for fine dining. A key element of the brief was
to create a dramatic impression through lighting design - a ‘wow’
factor. into collaborated with designLSM on creating this for the
client. The design is based around a layered lighting scheme;
concealed architectural LEDs provide a base layer of warm
white light, with a number of bespoke feature lights designed
by into suspended over key surfaces. The main restaurant space
however provides the most theatre - bespoke illuminated dome-
shaped spinnings cover the entire ceiling and house concealed LED
light sources and mirrors. This light effect gives the impression
of increased ceiling height. Finally, a DMX dimming system was
specified for all LED lighting to be dimmed smoothly and to a
very low level in the evening. The restaurant has been awarded a
Michelin Star, was a winner at the 2014 International Design and
Architecture Awards in the Restaurant category and was shortlisted
in the Lighting Design category at the Restaurant and Bar Design
Awards in 2013.
 045

PIERRE MARCOLINI BOUTIQUE, PARIS

CLIENT: MAISON PIERRE MARCOLINI
INTERIOR DESIGNER: BETC DESIGN

Maison Pierre Marcolini has become a name synonymous with some

of the finest chocolate in Europe. into was recently invited to
collaborate with architects BETC Design on the chocolaterie’s fourth
boutique in Paris - a petite store on rue Saint-Honoré. Particular
emphasis was placed on the use of LED sources with a high Colour
Rendering Index. into focused on the creation of a minimal
all-white interior in which the product appeared in a light as-
near-to natural light as possible, keeping in line with the client’s
wishes for a crisp, white interior. Therefore the colour rendering
of the LED engines used were an important factor. Both the
client and architect were hosted at the into London offices for
demonstrations. Keeping minimalism in mind the ceiling was kept
as a blank canvas with a small amount of downlights. Instead,
coffers lit with linear LED sources produce a frame to the space.
Integral shelving along the walls have bespoke concealed lighting
details, designed to-measure by into. Each takes into account the
dimensions of the shelf and the product displayed within and eleven
were designed in total. The store is a modern white boutique that
speaks luxury and style to customers, and sits well on one of the
most fashionable streets in Paris. into’s designs use entirely LED
light sources and, in a rare-move for retail, the lighting is on a
Lutron dimming system. This provides the freedom to dim lighting
for evening events.

PULLMAN ST PANCRAS HOTEL, LONDON

CLIENT: ACCOR HOTELS
INTERIOR DESIGNER: PROOF CONSULTANCY / LRW

This was the first Pullman Hotel in the UK and Accor Hotels (the
owning group) was keen to have an impressive lighting design for the
venue to launch the arrival of the brand. into was tasked initially
to look at the entrance reception, bar, restaurant and lounge areas
and designs included quirky bespoke features and high attention to
detail. The schemes for the public areas were designed to be fully
dimmable and were zoned for maximum flexibility from breakfast
through to evening dining. LED downlights were specified for
efficiency and for ease of maintenance as the longer lamp life meant
not as many replacements of fittings at such a high ceiling height.
Heavy reliance on LED light boxes and integral lighting within bars,
tables and reception desks builds layers of light that contrast with
accent lighting and feature pendants. The client was very happy
with the atmosphere achieved through meticulous programming
of the lighting scene settings. into went on to design the external
lighting, conference suites, ballroom, gym and executive meeting
rooms through the extended development of the hotel. The project
is part of a longstanding relationship between into and Accor Hotels
as into remain their current lighting design consultants.

INTO LIGHTING, UK
• DIRECTORS: Anthony Cutting, Robert Crow, Darren Orrow and Russell Ford • HEAD OFFICE: Bordon,
Hampshire, UK • DESIGN OFFICES: London and New Delhi • ESTABLISHED: 1979 • EMPLOYEES: 25+ spread
across three offices • CURRENT PROJECTS: Quaglinos, London; The Orangery restaurant, Bahrain; Pierre
Marcolini stores, Paris; Kennel Club, London; Everyman Cinemas, UK wide; JR Duty Free, Australia; Hotel
Washington DC; Ongoing refurbishment projects for Hilton; The Glebe Development, Chelsea, London; Rio
Tinto offices, London.

www.into.co.uk
046 DETAILS

[lighting talk] This issue we talk to Jonathan Mizzi,

principal of UK architects Mizzi Studios.

COULD YOU TELL ME...

...What made you become an architect? respond to the needs of the user. However, always at the forefront
I wanted to pursue a creative career and a BA in Architecture of my designs is that the lighting has to be relevant. For The
seemed a good starting point, but I was never set on becoming an Pheasantry [2], which is set in a wooded area of a park, we wanted
architect. Architecture seemed too focused at a time when I wanted people visiting the café to have a seamless transition between the
to explore all creative avenues. I was fascinated by Sci-Fi, so after natural light outside and the light inside the café. Through punching
my BA I went to USC’s School of Cinematic Arts in LA to explore my skylights into the ceiling we were able connect the building with
ideas through digital set design and then studied VFX at Escape the nature outside and allow natural light to pour in, mimicking
Studios in London. It was an exciting and extremely creative time sunlight streaming through a forest. We created a beautiful building,
but I realised I wanted to ultimately create a tangible environment, but through working on the light we were able to give an extra
so I finished my architectural studies. It was only as an intern at dimension to the scheme.
Jason Bruges Studio that I really started to understand the many
possibilities within architecture. I saw aspects of film and media ...About the role lighting plays in the life of a city?
integrated with architecture in an ingenious and interactive way. Lighting plays a crucial role in city safety, both in navigation and
This had a profound effect on me and inspired me to follow my also in security and crime prevention by illuminating public spaces
quest to make fantasy a reality within architecture. and creating wayfinding pathways. At the same time, lighting has
the power to completely transform a city, enhancing its historical
...How important is lighting in your designs? sites at night and can support the overall branding of a city. For
Where possible, I try not to create static architecture and lighting example, our floating Light Cast [3] installation focused on creating
is the best, easiest and most affordable way to animate a building, a symbolic lighting art piece for London that was broadcast globally
make a space, communicate and become more engaging. for IALD’s Chase the Dark event in order to unite IALD’s many local
For Samba Swirl, Camden [1], our brief was to create a space communities around the globe in one activity that emphasised the
that embodied the energy of the brand, whilst avoiding the frozen power of light in human life.
yoghurt design clichés. We set out creating the carnival spirit and
geometric colours of the favelas in Rio De Janeiro in an engagingly ...How do you approach lighting a building through architecture?
modern context by centralising the core design concept around Our approach really varies depending on the client’s needs and how
animated linear lines of LED light that emanate from every plane of specialist the job is. For Samba Swirl, we completely visualised the
the store; walls, floors, ceilings, out and lipping up on to the front project virtually in 3D on the computer. We produced animations
fascia. Working simultaneously as the stores main design feature, for the client to understand how the store’s lighting was going to
the LED also functions as a wayfinder system that pulls you in and work and presented this side by side with a 2m physical sample of
directs you around the store taking you on a fantastical, colourful, addressable LED tape built into a diffuser along with samples of all
animated, frozen yoghurt voyage. finishes in the store. Other times things can be a bit more hands
on and experimental. We are currently developing a feature ceiling
...What excites you about light and lighting? for a concept nightclub [4], which involves light diffusing through
Animated lighting and its ability to further articulate design form parametric voronoi perforated patterns. For this we have produced
with a goal to create unique and immersive experiences is what we lots of laser cut samples testing the pitch, shape and size of each
all thrive on at Mizzi Studios. Coupling this with sensory technology perforated hole to review the diffused effects behind back lit LED.
to make directly engaging and theatrical spaces is what excites me
most. ...About the best and worst illuminated places you have visited?
For me light is very emotive so the worst illuminated spaces are
...Why spending time thinking about and working with light is those lit with fluorescent white light. It just makes everything feel
important to you? cold, lifeless and sterile. To me, no building better utilises light
Lighting is important as it helps spaces to express themselves and in a more playful, ingenious and creative way than the Kunsthaus
 04737

Graz does in Austria. Coined the ‘Friendly Alien‘, the building

really is as Sci-Fi as you can get, it’s ‘Close Encounters of the
Third Kind’... only this time the spaceship has actually landed,
and the aliens are communicating and welcoming visitors in to
their museum that it houses on a permanent basis. The building
can be described as a perfect blend between architecture, art,
media and lighting technology.

...About the importance of shadows and the balance of

darkness and light in your work?
It is very important, especially when we want to contrast
lighting and colour to make a statement or accent and highlight
a space. We spend a lot of time on the programming of our
lighting designs and we always ensure they have the flexibility
of being able to precisely set the levels of light through a
dimmable control system.
Once again every project is different. Animated colour changing
light has become a signature style for our clients, Samba Swirl.
Their whole store environment is vibrant with bright painted
walls and reflective finishes. In this instance we did not want
any dark shadows at all, so we made a conscious decision that
the ambient light level was high with dramatic colour changing
that slashes through the architecture. The result is a bright and
fun shop, bringing a dash of Brazil to a dark grey Camden street
in London.

www.mizzi.co
048 DETAILS

MINIMUM FUSS,
MAXIMUM EFFECT
Following a recent presentation at iGuzzini where Tino Kwan
explained his lighting design principles, we caught up with
him to get the lowdown on his career and his philosophy.
Words by Robert Such.

From an early age Hong Kong-based lighting designer Tino Kwan wanted to work
for himself. At the age of 29 he reached his goal - one year earlier than he’d
planned. Since then his firm, Tino Kwan Lighting Consultants, has lit buildings
and interiors in twenty countries, and the total number of projects he has
worked on has already passed the one thousand mark.
Winner of numerous awards, including three awards for The Peninsula Tokyo
hotel lighting alone, his trademark minimal lighting schemes can be seen in
international deluxe hotels and casinos, office buildings, shopping malls, luxury
retail outlets, private residences, resorts and urban landscapes across an area
of the globe stretching east-west from Tokyo to Dubai, and north-south from
Beijing to Indonesia.
Driven by the governing principle of less is more, he always uses “minimum
lighting equipment to achieve maximum lighting effect,” he says. “The worst
illuminated places are always overly designed.”
He attributes the latter to a lighting designer’s lack of confidence.
Kwan’s approach to fulfilling a brief also involves spending a lot of time “getting
into the head of the architect,” he says. “In order to come up with the most
perfect lighting solution, I normally spend 80% of my design time studying their
designs in terms of form, space, materials, details and functions,” he says. After
that “the rest is easy to have my lighting design integrated with theirs.”
049
052 DETAILS

Left The Grand Hyatt, Shanghai: “I still remember

the first time I went to Pudong in Shanghai to
have an interview with the client... Pudong was a
piece of rural farm land which, after a few years,
had turned into an international business district
and the hotel atrium lighting that I designed had
become a talking point in the hotel industry.”
Below Tino Kwan speaking at iGuzzini HQ in Italy.

HIGHLIGHTS

Projects that you would like to change:

The ICC (International Commerce Centre) which is the
tallest (484m) and most prestigious building in Hong
Kong, designed by Kohn Pedersen Fox Associates in
association with Wong & Ouyang, has been totally
ruined by its façade lighting. Not only has the lighting
design failed to reflect or enhance its architecture in the
evening, it completely ignores the building features and
turns the facades into the biggest billboards in Hong
Kong by constantly flashing meaningless images and
messages with LED light all night long. I would like to
see this building become an iconic symbol of Hong Kong
with concealed lighting illuminating the architectural
features and at the same time expressing its unique
tallness to achieve a timeless solution.

Projects you admire:

The Louvre in Paris designed by Claude Engle. I like the
way he brought out the transparency of the pyramid and
was able to balance the overall lighting in the courtyard
closed. For Kwan, it was time to start his Since then, Kwan’s interest in lighting of The Louvre.
own practice and realise that long-held has been helped by the advances made
goal. Since he was already living in London, in lighting technology. They have also Projects you dislike:
I dislike projects using LED light excessively with the
he felt it was natural for him to set up his helped him to become a better designer. totally wrong idea that LED saves energy. How can one
first office there. The ability to achieve lighting effects that save energy for the sake of using LED light, and over
As well as working for his own clients, would not have been possible at the start of using it?
Kwan also took on the residential and hotel his career has resulted from the invention
Lighting Hero:
projects sub-contracted out to him by of new light fittings and sources. I would not say any lighting designer can be a Lighting
Keller. “Imagine if I was still using the power lamps Hero. I think I vote for the light source inventors /
manufacturers who constantly develop new light
Something that the newly self-employed and there was no other new light source,
sources for us, which in result allow us to come up with
Kwan enjoyed was the greater chance of the limitations of the lighting design that many innovative design solutions for our projects.
meeting different designers. “Because if will come out or the effect will always look
you work in-house in a company,” he says, Notable projects:
very similar. Once this changed to halogen,
I was so happy to read in the first issue of Monocle
“you work for one design company and you the look was different. The atmosphere was magazine that the best hotel lighting in the world was
don’t get to meet all the other talents all different. Now we have changed to LED and the Tokyo Peninsula Hotel which I designed and received
over the world.” again it’s different.” design awards from IESNA in North America, JALDA in
Japan and APDA in Hong Kong.
A year later, in 1980, while on a summer Well-placed to have observed other
holiday to see his family back in Hong Kong, changes, Kwan has watched the lighting Most memorable project:
he met up with Joe D’Urso, a US interior design profession develop over the decades. I still remember the first time I went to Pudong in
Shanghai to have an interview with the client for the
designer who was scouting for a lighting Where there were only “a handful of Grand Hyatt Shanghai Hotel project. Pudong was a piece
professional with whom he could work on a recognised lighting designers worldwide in of rural farm land which, after a few years, had turned
private club called the I Club. the ‘70s,” he says, it has now grown into into an international business district and the hotel
atrium lighting that I designed had become a talking
Now closed, the I Club was where Kwan “a large community of talented lighting point in the hotel industry.
designed not only the lighting scheme but professionals in every city. I am so happy
also various fittings - pendant lights, wall that lighting design has been steadily Current projects:
Libosa Palace Casino Project, Macau; Studio City Casino
lamps and spotlights - for the then new recognised by the public who realised how
Project, Macau; Four Seasons Hotel, Seoul; St Regis
MR16 lamp. it can help to improve the quality of our Hotel, Lijiang; Kai Tak Cruise Terminal, Hong Kong;
Seeing more opportunities for work in Hong lives.” Grand Hyatt Hotel, Xian; VietinBank, Vietnam.
Kong, he decided to leave London. www.tinokwan.com
052 DETAILS

Left The Grand Hyatt, Shanghai: “I still remember

the first time I went to Pudong in Shanghai to
have an interview with the client... Pudong was a
piece of rural farm land which, after a few years,
had turned into an international business district
and the hotel atrium lighting that I designed had
become a talking point in the hotel industry.”
Below Tino Kwan speaking at iGuzzini HQ in Italy.

HIGHLIGHTS

Projects that you would like to change:

The ICC (International Commerce Centre) which is the
tallest (484m) and most prestigious building in Hong
Kong, designed by Kohn Pedersen Fox Associates in
association with Wong & Ouyang, has been totally
ruined by its façade lighting. Not only has the lighting
design failed to reflect or enhance its architecture in the
evening, it completely ignores the building features and
turns the facades into the biggest billboards in Hong
Kong by constantly flashing meaningless images and
messages with LED light all night long. I would like to
see this building become an iconic symbol of Hong Kong
with concealed lighting illuminating the architectural
features and at the same time expressing its unique
tallness to achieve a timeless solution.

Projects you admire:

The Louvre in Paris designed by Claude Engle. I like the
way he brought out the transparency of the pyramid and
was able to balance the overall lighting in the courtyard
closed. For Kwan, it was time to start his Since then, Kwan’s interest in lighting of The Louvre.
own practice and realise that long-held has been helped by the advances made
goal. Since he was already living in London, in lighting technology. They have also Projects you dislike:
I dislike projects using LED light excessively with the
he felt it was natural for him to set up his helped him to become a better designer. totally wrong idea that LED saves energy. How can one
first office there. The ability to achieve lighting effects that save energy for the sake of using LED light, and over
As well as working for his own clients, would not have been possible at the start of using it?
Kwan also took on the residential and hotel his career has resulted from the invention
Lighting Hero:
projects sub-contracted out to him by of new light fittings and sources. I would not say any lighting designer can be a Lighting
Keller. “Imagine if I was still using the power lamps Hero. I think I vote for the light source inventors /
manufacturers who constantly develop new light
Something that the newly self-employed and there was no other new light source,
sources for us, which in result allow us to come up with
Kwan enjoyed was the greater chance of the limitations of the lighting design that many innovative design solutions for our projects.
meeting different designers. “Because if will come out or the effect will always look
you work in-house in a company,” he says, Notable projects:
very similar. Once this changed to halogen,
I was so happy to read in the first issue of Monocle
“you work for one design company and you the look was different. The atmosphere was magazine that the best hotel lighting in the world was
don’t get to meet all the other talents all different. Now we have changed to LED and the Tokyo Peninsula Hotel which I designed and received
over the world.” again it’s different.” design awards from IESNA in North America, JALDA in
Japan and APDA in Hong Kong.
A year later, in 1980, while on a summer Well-placed to have observed other
holiday to see his family back in Hong Kong, changes, Kwan has watched the lighting Most memorable project:
he met up with Joe D’Urso, a US interior design profession develop over the decades. I still remember the first time I went to Pudong in
Shanghai to have an interview with the client for the
designer who was scouting for a lighting Where there were only “a handful of Grand Hyatt Shanghai Hotel project. Pudong was a piece
professional with whom he could work on a recognised lighting designers worldwide in of rural farm land which, after a few years, had turned
private club called the I Club. the ‘70s,” he says, it has now grown into into an international business district and the hotel
atrium lighting that I designed had become a talking
Now closed, the I Club was where Kwan “a large community of talented lighting point in the hotel industry.
designed not only the lighting scheme but professionals in every city. I am so happy
also various fittings - pendant lights, wall that lighting design has been steadily Current projects:
Libosa Palace Casino Project, Macau; Studio City Casino
lamps and spotlights - for the then new recognised by the public who realised how
Project, Macau; Four Seasons Hotel, Seoul; St Regis
MR16 lamp. it can help to improve the quality of our Hotel, Lijiang; Kai Tak Cruise Terminal, Hong Kong;
Seeing more opportunities for work in Hong lives.” Grand Hyatt Hotel, Xian; VietinBank, Vietnam.
Kong, he decided to leave London. www.tinokwan.com
DESIGN
MEETS
BUSINESS

Be part of a unique exhibition with five

curated sectors: Lighting, Kitchen +
Bathroom, Furniture, Décor and DX.
London ExCeL May Design Series is the most commercially-focused
17–19 May 2015 interiors show in the calendar.
The setting is London.
Find out more at The time is May.
The range is comprehensive.
maydesignseries.com/ The spirit is collaborative.
mondo The Show is May Design Series.
Organised by
056 MEDIA ARCHITECTURE / COMMENT

Ahead of the Media Architecture Biennale in Aarhus, Dr. Matthias Hank Haeusler, media
architecture expert, explains ‘System Thinking’ as a method to combine several media
façades into a digital ecology.

HUMAN INTERACTION
We have moved into an era where media façades and media function as a system. While not traditionally considered as part of
architecture are no longer a novel feature in our cities, but the architectural kit of parts, it is argued here that urban screens
are rather more commonplace. As I have discussed in previous and media façades, as well as sensors, actuators and computing
publications, and as further evidenced by the Media Architecture hardware can be more purposefully integrated within an overall
Institute (MAI) members’ research, there are now many examples building system.
of media facades projects of various scales and approaches Turning now to the second concept, ‘a system as a whole’,
located across the globe. Given this, I believe it is time to rethink Alexander further describes this as holistic phenomena, which can
the conceptualisation of media architecture as merely a design only be understood as a product of interaction amongst parts.
(architectural integration and façade element), technology (LED and Seen in this way we can begin to think of interactions between
lighting technology), and media content (interaction and curating) multiple buildings over the scale of a council area, a city, even a
topic. While there remain significant post-cinematic opportunities region, or perhaps globally. Public transport is a good example of a
for media façades and urban screens, particularly through the holistic phenomenon, as it only functions as a whole. The parts can
combination of participatory content with site context, these are be considered as the physical infrastructure, train stations or bus
often very site-specific design challenges. Alternatively, what I stops; the trains or buses, the tracks or routes the vehicle drives
want to propose here are the ways media architecture projects can along, which together which form a system.
fit into a framework of thinking and theory that shifts the focus Yet there has also been criticism on Alexander’s work that his
from object-based (media façades), towards the design of a system thinking, as Menges and Ahlquist have previously argued, only
that generates and connects a ‘digital ecology’. provides a way to characterise a system, but not extensively
The origins of this ‘digital ecology’ approach are drawn from describe the process by which a system can be generated. I would
General System Theory. More specifically this relates to its subset join this criticism by arguing that a system with ‘interaction
Systems Thinking theory, as advanced by Ludwig von Bertalanffy amongst parts’ needs further means of feedback to control the
in the 1940s and later folded into architectural theory by constrained relationships to another; to enable the assembly of
notable figures such as with Christopher Alexander in the 1960s. parts to certain constraints; and to ensure the proper interaction
Bertalanffy argues for the ‘whole’ of functioning systems and that of these parts. This is the point in which media façades as well as
the overall behaviour of the ‘whole’ is accomplished through the sensors or actuators and computing hardware, can play a significant
‘interaction among parts’ as argued by Alexander. Alexander in his role in supporting an ‘interaction amongst parts’ as a part of
text ‘Systems Generating Systems’ asserted that, “A generating the system and by monitoring the ‘interaction amongst parts’ to
system is not a view of a single thing. It is a kit of parts; with rules achieve a holistic phenomenon.
about the way these parts may be combined and a system as a Consequently one needs to look into what primary modes of
whole is not an object but a way of looking at an object. It focuses interaction exist to develop a feedback system to control, enable
on some holistic properties, which can only be understood as a and ensure the rules. Kirchner et al. has argued for four primary
product of interaction amongst parts.” In the context of this article, modes of interaction: (a) Human -> System (Human acts on the
a more detailed outline of these theories cannot be elaborated on System); (b) System -> Human (System acts on/for the Human); (c)
here, yet most readers interested in media architecture are likely Human <- System (Human observes the System); and (d) System <-
to be familiar with some of the key tenets, such as the concept of Human (System observes the Human), Relatedly, I have previously
‘interaction’. argued in the article ‘Architecture = Computer’, for a need for a
A key objective of many media façade projects to date has fifth mode of interaction – a System < - > System mode (System
been to communicate content and generate forms of interactive observes and acts on/for the other system).
engagement between the user or observer and the media This is useful here because it gives a system an indication or rules
façade. Here however the concept of a digital ecology extends of what to observe and what to act upon, the system needs to
beyond simply the user/observer-façade mode of interaction understand in the first place what kind of system it is. A system
and Alexander’s theoretical concepts become a useful way here in architecture could be defined through its typology. Thus one
to frame this approach. Firstly, this concerns the concept of could argue for two possible rules for interaction amongst parts
‘generating a system’, that is, understanding the ‘design’ not as a (building systems) in a city system – non-typology specific rules
single entity but rather as ‘a kit of parts’. Secondly, this pertains and typology specific rules to define an interaction between
to the concept of a ‘system as a whole’, as that which is not systems. In detail, the first non-typology specific rules describe
an object, but rather, a way of looking at an object through an the interaction between for example an office building and an
organisational logic. apartment block. The second typology specific rules describe the
According to Alexander, any building can be understood as a interaction within one typology, for example two bus stops or
building system that is a generating system with a ‘traditional’ kit train stations. Whereas the first is harder to define, as the rules
of parts – columns, beams, panels, windows, doors and so on. All can be compared with communications between typologies, the
of these parts are assembled according to certain rules in order to second one is clearer. The first, non-typology specific rule, can be
compared with a conversation between a fanatic soccer fan (i.e.
office building typology) and a chess game lover (i.e. apartment
block typology) where both have very clear rules (passion) within
their system (hobby), but one has to first establish and understand
rules (a common discussion point) amongst both systems to
achieve a holistic phenomenon (a long lasting conversation). The
second, typology specific, on the other hand is like two passionate
gardeners (i.e. bus stops) who have both the same interest (rules
of interaction amongst parts) talking to each other about flowers
and trees (timetable information and bus arrivals). In short, when
a common ‘conversation’ topic is established between various
buildings of the same typology (or two people) consequently an
interaction between them become more possible. Thus through
non-typological and topological specific rules a modus operandi
for generating media content exists that does not see the media
facade content as a site specific interaction, but as part of a digital
ecology where parts (building systems) like screens and sensors are
connected as Alexander has described it with ‘rules about the ways
these parts may be combined’.
One way that this approach to reframing media architecture in
terms of a digital ecology has been applied is in the context of
public transport design in the recent book Interchanging – Future
Scenarios for Responsive Transport Infrastructure Design. Here
bus stops were equipped with media façades, urban screens and
sensors to enable concepts like real-time information relating to bus
arrivals enabled through GPS and communicated through screens
integrated within the bus stop infrastructure to facilitate more
informed public transport decision-making; active surveillance
through cameras on bus stops displayed on screens at other bus
stops for enhanced security; or location-based information about
events, transport connections and points of interest used to
establish a dynamic wayfinding system; and even new revenue
models for providing, maintaining and operating bus stops.
Thus one can conclude that this way of thinking has the potential
to be applied in other ways for the built environment and could
extend media architecture to other performative realms. Hence to
achieve what Alexander had potentially envisioned when he asked
for new, subtler kind of building, which doesn’t merely generate
buildings, but generates buildings guaranteed to function as holistic
systems in the social, human sense.
www.mab14.org

Dr. M. Hank Haeusler Dipl.-Ing. (FH) / PhD (SIAL/RMIT) is

Senior Lecturer at the School of Architecture, Faculty of Built
Environment, University of New South Wales, Australia.

The Media Architecture Biennale brings together artists, industry

and academia to show and discuss products, trends and challenges
within the realm of media architecture. This year’s biennale is in
Aarhus, Denmark, November 20-22, 2014. The pre-conference event
is to be held in Copenhagen on November 19.
058 MEDIA ARCHITECTURE / ARBOREAL LIGHTNING, THE ROUNDHOUSE, LONDON
 059

THE
LIGHTNING
CHIEF
Architect Alex Haw has created a groundbreaking
interactive lighting installation housed in the
Roundhouse in London for Imogen Heap’s Reverb
music and technology festival.

Arboreal Lightning is a large-scale interactive lighting installation by

atmos that transforms sound and gesture into an immersive, fluctu-
ating, luminous environment - specifically designed for the Camden
Roundhouse, one of the top live venues in London. Its activity is
generated by both amateurs and professionals - artist performers
and a wider audience - creating a performative stage beacon that
activates programmed performances, and also serves as an interac-
tive public installation outside concert times.
The project was commissioned by both the Roundhouse venue and
Grammy Award-winning, singer-songwriter Imogen Heap as the
centrepiece for the Camden Roundhouse’s Reverb 2014 Festival of
Contemporary Classical Music. The installation has grown to be the
resident centrepiece for the Roundhouse’s August 2014 Summer Ses-
sions and is set to go with Heap on her year-long world tour, which
started on the last night of the Roundhouse Festival.
The project mirrors the Roundhouse’s clock-like plan of 24 columns
by bundling 24 strands of LED light into a giant heavy-rooted trunk
that grows from the stage to arc over the colonnade and arches
above. The strands soar upwards and weave through columns and
rafters to follow the building’s dramatic structure, seeking hidden
recesses and unexplored corners, before exploding outwards above
both the performers and audience. Some branches yearn upwards,
060 MEDIA ARCHITECTURE / ARBOREAL LIGHTNING, THE ROUNDHOUSE, LONDON

TALKING TO… ALEX HAW

and hugely unexpected number of people were What was the biggest challenged faced with the
ecstatically effusive and wildly enthusiastic, while some project?
occasional figures were (perhaps surprisingly silent). Lack of time and money. We got news of the arts
I loved getting a hug from the roundhouse’s head of council grant at the end of June and had to be
music -­and loved seeing him whoop up the tree -­and installed by mid august. With 4,800 individually woven
loved the kind words I got from Imogen Heap, our LED nodes and 3 kilometres of lighting we didn’t know
commissioning muse, once we’d opened. much about til then.

Do you work with light regularly? What are your Did the final installation change much from the
thoughts to working with light? original brief/concept? What were the reasons for
As architects, we always work with light in some way, this?
Where did the inspiration for this project come though often in a more modest fashion and almost Its shape bent to accommodate the restrictions of the
from? never as interactively. If you look through our portfolio, existing building and was forced to find new routes
Human Nature. Our tussle with being organic, yet you’ll find a range of slightly older works that were all due to the late emergence of the fact that some parts
kings of artifice. Our own vulnerable fleshy wetness, solidly interactive, or at least responsive. It all began were simply inaccessible. We trimmed the original 8km
yet our fiercely intellectual cerebrum. Basically, Imogen with my solo exhibition at the architectural association of lighting way back due to lack of budget (we had
Heap and my mutual love and admiration for so many -­lighthive -­where I wired up 160 rooms of the entire hoped to find a sponsor who’d pay for more LED). We
things both human and natural. university with sensors that fed a large-­scale model moved away from coils of tubular enclosure towards
of the school, flickering in response to movement. a track-based system because of the product we’d
Can you describe your creative process? It caused a stir and brought us into contact with specified. We moved away from the original plan for
Think; draw; discard; redraw, redraw, redraw, redraw, art commissioners, through whom we developed CNC-milling plywood substrates because of fire rating
redraw, redraw, redraw, redraw, redraw; present; several large-­scale interactive or data-­fed projects. and fragility and away from milling plastic because of
redraw, redraw, redraw, redraw, redraw, redraw, We won the commission to illuminate the Cutty Sark cost. We made all inputs sonic for simplicity, and to
redraw, redraw, redraw; make. station with lighting that responded to passenger poetically make audience and performer equal in their
movement, which sadly never happened. The art weaponry.
What were your expectations of the project, how commissioning market seemed to crash and die just
did you hope the audience would perceive the as we were starting out, so we haven’t done much What was the most rewarding element to the
installation? since apart from a few installations using camera project?
We were worried about time, but excited by the team vision and projection. We’d dearly love to do more The gasps and tears of joyfulness.
and moment and venue. We weren’t sure how various lighting installations, but just don’t get asked. It’s not
things would behave, not how we would even build it overall more challenging; though the risks of technical How would you categorise your own design style?
or hang it, nor how responsive the LED product would failure are probably much higher, so are the rewards - Complex, meaningful sensuality.
be at the potentially-­laggy end of 100s of metres everyone loves a good bit of lighting, which is still as
of Ethernet and XLR cable. We hoped the audience close to magic as we get in everyday life. Any parting words, warnings or advice to all the
would lose their inhibitions, let down their guard and individuals wanting to undertake an interactive
just sink into it like an old sofa, enwrapped by light; What prep work was done to ensure the production lighting installation?
and I think they did. ran smoothly? Get as much time as you can. Work with brilliant
As much as poss. testing and testing. Putting as many people. Get everyone on board, inspired towards a
Did the reaction meet your expectations? good people onto each detail and area as possible common goal. Simplify wherever possible and focus
Partially (I have elevated expectations). An incredible and having backup plans! your firepower.

towards the light of the lantern; a few meticulously tamed to shadow the contours LED nodes specifically designed for extraor-
strands bow down to reach and mingle with of the building’s giant skeleton - yet each dinary effects and expansive installations
the audience, who can then trigger their of the 4,800-pixel nodes glimmer individual- without the constraints of fixture size,
own luminous ripples and join in the spatial ly in response to life. They coalesce to form shape or space. Each iColor Flex MX gen2
symphony. This light canopy of visual music a sinuous elastic mesh of sculptural video; a strand consists of 50 individually addressa-
creates a unifying lattice that embraces the fluid, spatial cinema, worming through the ble LED nodes, featuring dynamic integra-
people beneath it within a giant, pulsating, building. tion of power, communication and control.
Gaian network - umbilical cords connecting Architainment Lighting was called upon by The flexible form factor accommodates two
people to building, sound to light. atmos to supply a flexible, adaptable and and three-dimensional configurations, while
1,500 metres of LED string (iColor Flex MX lightweight solution. The strands boast high light output affords superior long-dis-
gen2 by Philips Color Kinetics) have been flexible threads of high intensity, full colour tance viewing for video displays. Architain-

わさるとしなやかで弾力性のある網目状の彫
JAPANESE 刻映像が形作られる。 それは建造物の中の空
的柱干里，从舞台一直蔓延越过柱廊以及
上面的拱门。这24根如钟般分布的灯柱，
fluctuant et lumineux. Le projet et sa pièce maîtresse
ont été commandés par les dirigeants de la Rotonde et
Arboreal LightningはロンドンのCamden 間を流れるような映像となって動き回る。At- 让圆屋熠熠生辉。长达 1500 米的 LED 灯 la chanteuse Imogen Heap pour le Festival de musique
Roundhouseのために特別にデザインされ mos Studioにより、 柔軟で適合性の高い軽 绳，沿着圆屋巨大的骨架轮廓，成型精 classique contemporaine Reverb 2014.
た、音と動作をリアルで流動的な没入型照明 量なソルーションとして選ばれたアーキテイ 致，而 4800 个像素点个个璀璨，闪光独立 L’installation reflète le plan horloger des 24 colonnes
環境に変換するatmosによる大規模なインテ メント照明に使用されたのは、 Philips Color 成像。它们共同形成弯曲的、有弹性的网 de la Rotonde en regroupement 24 filaments de lumière
ラクティブ照明設備。 Roundhouseとシンガー KineticsのiColor Flex MX gen2であること 格雕塑视频;犹如一个流动的，存于空间的 D.E.L. dans un tronc géant à grandes racines poussant
ソングライターであるImogen Heapよって、 - に不思議は無い。 电影院贯穿于整座建筑。 depuis l’estrade et formant une voute au-dessus de la
Camden Roundhouseによる現代クラシック 应 Atmos Studio 之要求，Architainment colonnade et des arches. Quelque 1 500 mètres de guir-
音楽の祭典、 Reverb 2014 Festivalの目玉プ CHINESE Lighting 提供了一种灵活的、适应性强的、 landes D.E.L. ont été méticuleusement modelés afin de
ロジェクトとして依頼された。 轻量级的解决方案；Philips Color Kinetics délimiter les contours du squelette géant du bâtiment ;
Roundhouseの照明設備は、 時計状に並んだ “光之树”是 Atmos Studio 设计的一种大 的 iColor Flex MX Gen2 便是首选。 chaque nœud de 4 800 pixels brille individuellement en
24本の柱の構造をLED光源の24の光の束に 型交互式照明装置。它把声音和动作转化 célébration à la vie. Ces guirlandes s’unissent pour for-
収束して表現し、 ステージ奥底から放たれる
その光の束は柱列の上を弧を描いて伸びてゆ
到身临其境、波动的光环境中--专为伦敦 FRANÇAIS mer un filet élastique sinueux de vidéo sculpturale ; un
cinéma fluide et spatial voyageant à travers le bâtiment.
的卡姆登圆屋设计。受圆屋音乐馆和创作
く。1500メートルにも及ぶLEDの光の束は建 歌手 Imogen Heap 委托设计的这个项目是 Spécialement conçue pour la Rotonde de Camden à Lon- Architainment Lighting fut désigné par Atmos Studio
物の巨大な骨組みの輪郭に正確に沿うように 卡姆登圆屋“2014现代古典混响音乐节” dres, la foudre arboricole est une immense installation afin de proposer une solution maniable, aménageable et
伸び、 同時に4800ピクセルのノード一つひと 的核心装饰。 d’éclairage interactive imaginée par Atmos, qui trans- légère ; ainsi, les produits iColor Flex MX gen2 de Philips
つが体の動きに合わせて光る。 その光源が合 24组 LED 灯安置于外形巨大、基地结实 forme sons et gestes en un environnement immersif, Color Kinetics devinrent le choix par évidence.
062 MEDIA ARCHITECTURE / ARBOREAL LIGHTNING, THE ROUNDHOUSE, LONDON

A perspectival plan showing the installation growing

across Roundhouse structure. The project mirrors
the Roundhouse’s clock-like plan of 24 columns by
bundling 24 strands of LED light into a giant heavy-
rooted trunk that grows from the stage to arc over
the colonnade and arches above.

ment supplied a total of 96 lengths with 12” inaccessible spaces and ineffable sensations
spacing and an sPDS-480ca 7.5V Philips Color - the physical manifestation of music, and PROJECT DETAILS
Kinetics power and data supply. The sPDS- the convergence of sensations. In an age of Aboreal Lightning, The Roundhouse, Camden, London, UK
480ca 7.5V delivers 480 watts of output via emancipated connectivity and collaboration, Design: atmos
sixteen 30-watt ports and automatically it seeks to reinvent and re-imagine the rela- Software Design: Adam Stark
LED supplier: Architainment (Philips Color Kinetics)
accommodates input voltages ranging from tionship between performer and audience, Control: Pharos
100 VAC to 240 VAC. sound and light. Technology Support: John Nussey
Maker Space: Makerversity
Arboreal Lightning unleashes the hidden www.atmosstudio.com
Muse: Imogen Heap 
power of a place - and people. It explores

wort auf Leben. Sie fügen sich zusammen und bilden ein Roundhouse di 24 colonne che riunisce 24 fili di luci a ante y luminoso - diseñada para el Camden Roundhouse
DEUTSCH gewundenes, elastisches Gewebe aus einem skulpturalen LED in un gigante tronco pesante che cresce dal palco e si en Londres. El proyecto fue encargado por el Roundhouse
Video; ein fließendes, räumliches Kino, das sich durch das erge verso l’ arco sopra il colonnato e gli archi sopra. Sono y por la escritora y cantante Imogen Heap como el plato
Arboreal Lightning ist eine umfassende interaktive Be- Gebäude schlängelt. stati meticolosamente modellati 1.500 metri di stringhe fuerte para el Festival de Reverberación de Música Clási-
leuchtungsanlage von atmos, die Sound und Gesten in Architainment Lighting wurden von Atmos Studio beauf- a LED per seguire i contorni del gigantesco scheletro ca Contemporánea 2014 del Camden Roundhouse.
eine immersive, veränderliche, leuchtende Umgebung tragt, eine flexible, anpassbare und leichtgewichtige della costruzione attraverso l’utilizzo di nodi luccicanti La instalación refleja las 24 columnas dispuestas en
umwandelt - speziell entworfen für das Camden Round- Lösung zu beschaffen; iColor Flex MX gen2 von Philips da 4.800 pixel che sono individualmente già una risposta forma de reloj en el Roundhouse agrupando 24 cordones
house in London. In Auftrag gegeben wurde das Projekt Color Kinetics war die optimale Wahl. alla vita. Essi si uniscono per formare una sinuosa rete de luces LED que forman un arcón gigante fuertemente
vom Roundhouse Veranstaltungszentrum und von der elastica video scultorea; una proiezione fluida e spaziale, emplazado que crece desde el escenario hasta el arco
Sängerin-Komponistin Imogen Heap als Herzstück des ITALIANO che striscia attraverso l’edificio. encima de la arcada y los arcos superiores. Se le ha dado
Reverb 2014 Festivals für zeitgenössische klassische Per l’ illuminazione architetturale è stato interpellato At- forma a 1500 metros de líneas de LED meticulosamente
Musik im Camden Roundhouse. Arboreal Lightning è un’ installazione interattiva lumino- mos Studio per fornire una soluzione flessibile, adattabile para que sigan el contorno de la gigante estructura del
Die Anlage spiegelt die Uhr-ähnliche Gliederung mit sa su grande scala, progettata da Atmos che trasforma e leggera; iColor Flex MX Gen2 della Philips Color Kinetics edificio - además de cada uno de nodos de 4.800 pixeles
24 Säulen des Roundhouses durch Bündelung von 24 il suono e il gesto in un ambiente fluttuante, luminoso è stata la scelta più ovvia. que brillan individualmente para darle vida. Estos fusion-
LED-Strängen in einem riesigen, fest verwurzelten Baum- e coinvolgente che è stato specificamente elaborato an formando una malla elástica y serpenteante de video
stamm wider, der von der Bühne über die darüber liegen-
den Kolonnaden und Bögen wächst. 1.500 Meter LED-Ket-
per il Camden Roundhouse di Londra. Il progetto è stato
commissionato sia dal Roundhouse che dalla cantautrice
ESPAÑOL escultural; un cine fluido y espacial que recorre el edificio.
Architainment Lighting fue convocada por Atmos Studio
ten wurden sorgfältig geformt und an die Konturen des Imogen Heap come il fulcro del festival di Musica Classica Arboreal Lightning es una instalación de iluminación in- para que suministre una solución flexible, adaptable y
riesigen Gebäudegerüstes angepasst - und dennoch Contemporanea Camden Roundhouse’ s Reverb 2014. teractiva a gran escala hecha por Atmos que transforma liviana; iColor Flex MX gen2 de Philips Color Kinetics fue
glimmert jeder der 4.800-Pixel-Knoten individuell als Ant- L’installazione rispecchia il progetto ad orologio del el sonido y la expresión en un ambiente envolvente, fluctu- la elección obvia.
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064 MEDIA ARCHITECTURE / BCP AFFINITY, LIMA, PERU
 065

The BCP (Banco de Crédito) building in San

Isidro is a building of its time. Bank façades
have traditionally been conservative
architectural icons that project serious
messages of establishment. The original
1970’s architecture was a brutalist design,
reflecting the strength and stature of Peru’s
oldest banking institution. In the 1990’s, it
evolved into a concrete fortress due to the
terrorist activity blighting the country. The
latest 2014 incarnation reflects a modern
and progressive Peruvian society.
The original concept was to design the
façade’s lighting to enrich the architecture.
The Architect, Felipe Ferrer, had a unique
concept for the architectural design that
reflected the client’s new branding message
of openness and transparency. Working with
this architectural concept lighting designers
for the project, Claudia Paz and Nicholas
Cheung, suggested an ambitious approach
that provided a deeper significance to the
city; offering a meaningful connection
between the bank and the people.
The proposal was to create an iconic public

TO AFFINITY
artwork installation with an interactive
façade to directly engage the general
public, suggesting new ways of seeing,

AND BEYOND
feeling and experiencing one’s own
perception of one’s self.
The vision was to give people the
opportunity to feel free and explore
new sensations, creating a permanent
BCP Affinity, an interactive three-dimensional façade
installation on an urban scale instead of a
installation in Lima created by designers Claudia Paz media façade.
and Nicholas Cheung, treats a bank building as a canvas Exploring the installation people can feel
for creativity. how the personal scale is expanded to the
architectural scale. The result is an awe-
inspiring experience of light, sound, speed
066 MEDIA ARCHITECTURE / BCP AFFINITY, LIMA, PERU

TALKING TO… CLAUDIA PAZ

interventions in art... we are trying, yes, but we still programmer: Scott Dellaire; Fixture modificactions
don’t get where we should be to make a social from CK Philips lead by Tomas Sandoval; Nicholas
improvement on culture and creativity. Cheung to integrate the design and interactive
I want to help people get insipired that believe hardware and software in London and lead the
everything is posible and open their mind to design and manufacturing of the podium in the
creativity. A space where you can get involved with UK; Cesar Castro from Peru, who in charge of the
an experience and forget the rest. Give the city a design of the technical & control specification
building that is alive and powered by the emotions and to lead the onsite team, coordinate with the
of the people, different people. We did it once multidisciplinary team all the technical, software,
with the National Stadium. The BCP Affinity is (from control specifications to make the project happen.
my point of view) more ambitious because it is for
anyone and everybody to join in! Why did you decide to design a tridimensional
mesh for this facade?
Where do you find inspiration? From a formal point of view, the architect decided
I like to make trips around the world, visit other only to cover the building with a glass wall so,
countries and cities, know new people, talk to them, instead of having something so ortogonal and
go to museums, see some art and installations. This boring, we proposed to have six layers of LEDs
is where I get my inspiration. to transform the building at night making organic
shapes round the edges so it looks more alive than
How much time did this project take? static.
BCP Affinity has been a project two years in We wanted to create depth in the lights to add a
the making, from initial concepts to delivery. As touch of reality surpassed by anything we have tried
Why do you do these kind of projects, what is always we form a strong connection with the before. When the people look up, because of the
your motivation? client, involving them in the process, revealing the angle and the place that the podium is located,
My motivation is the people, make them explore installation’s potential during development and they will feel inside the tridimensional space.
new experiences, feel emotions, if I can take a sigh inviting the client and the architect to participate in
from them I will be happy. I think this installation our vision. What is your favourite thing about this project?
opens your mind to creativy. I do this for the new The fact that any person, regardless of social
generation, my little girl of five years old now. How big was the multidisciplinary team to work class, education or heritage, can enjoy the latest
This generation has to grow up seing wonderful on this project ? technology at the tip of their fingers to stimulate
things, to always push themselves to explore new For BCP Affinity we needed a large group of their creativity. What we gave to the city is a
ways of creativity. In my country we don’t have the professionals involved - Sound Designer: Neil gigantic interactive art piece, that links the people
chance to see much modern art, we don’t have Spragg / Future Sound Design; Interactive to the landscape.
lots of museums were we can get insipired seing Programmer: Chris Plant / Colour Burst; e:cue
a painting by Picasso, Monet, Dali, Miro... or new programmer: Ruby Rosenthal; Philips CK

and generative architecture that is directly podium senses 3D depth and provides but smart algorithms are working in the
related to one’s own body movements. a touchless interface that transmits background ensuring a beautiful encounter.
The installation consists of three main parts body movements, via live interactive The façade design consists of six layers
- the 3D façade canvas with six layers of programming, onto the 3D facade. of LEDs, the outermost using large Philips
LEDs (covering 50 x 19 x 1.2 metres), the Each interactive show is based on natural ArchiPoint nodes that are daylight visible;
interactive LED outdoor podium (1.7 x 1.5 phenomena that are designed to evoke a these are located on the end of 532
metres) with multi-touch sensors and the childlike engagement in adults. One forms perpendicular poles in a 19 x 28 grid. The
interactive and lighting control systems. a personal relationship with the experience next five layers of LEDs are finer points
The public facing podium has a direct visual that arouses different emotions in different of light, held in strings of ten LEDs using
relationship with the façade, creating an people. Each show has a unique interface Philips Flex MX. There are two deliberate
impressive but unifying experience. Stereo that intuitively steers you to express grids; one bright, bold and sparse for
speakers flank the slanting podium, which yourself. Much like a musical instrument, dramatic moments, the other concentrated
delineates the space for expression. The people generate their own composition and subtle for nuanced sculptural effects.

ファサードは6層構造のLED光源であり、
JAPANESE 一 番 外 側の層では日中でも見えるな大き
LED 户外平台（1.7 × 1.5 米）和互动、
照明控制系统。平台能感知 3D 深度，并
siste.
La proposition consistait à créer une façade inter-
ペルー共和国、サンイシドロのBCP(Banco なPhilips ArchiPointのノード
（連結ポイ 提供一种非接触式的界面，将身体动作通 active afin d’engager directement le grand public.
de Crédito)の建物は時代とともに変化して ント）を19 28のグリッドで532本の垂直な 过现场互动节目传到 3D 立体面。 L’installation se compose de trois parties princi-
きた。建造当初こそ1970年代のブルータリス 棒の先端に取り付けた。内側の5層のLED 立体面的设计包含六个 LED 层面，最外 pales ; la toile 3D de la façade avec six couches
ト建築だったが、1990年代にこの国で吹き 光源はより小さな点状照明の集合体であ 层采用大型的 Philips ArchiPoint 节点， de D.E.L. (couvrant 50 x 19 x 1,2 m), le podium
荒れたテロの嵐のため徐々にコンクリートの り、Philips Flex MXを用いてLEDを10個 白天可见；这些位于 532 个垂直杆的末 extérieur interactif en D.EL. (1,7 x 1,5 m) avec
要塞へと形を変え、2014年に現代の進歩主 づつひも状につなげて使用している。 端，以 19 × 28 网格式排布。LED 的另 capteurs « multicouches » et enfin des systèmes
義的なペルー人気質を表すデザインへと変 外五层则是更细小的光点，使用 Philips de contrôle interactif d’éclairage. Le podium capte
貌を遂げた。
設計段階では、一般大衆に直接訴求するイ
CHINESE Flex MX，包含在由十个 LED 灯组成的
灯串中。
la profondeur en 3D et fournit une interface sans
contact qui transmet les mouvements du corps par
ンテラクティブなファサードを創ることにな BCP (Banco de Crédito) 位于圣伊西德 l’intermédiaire d’une programmation interactive en
った。設備に含まれるのは主に3つのパーツ
で、50×19×1.2メートルの空間に渡る6層
罗，风格随着时间不断变化。最初 1970 FRANÇAIS direct sur la façade 3D.
La façade présente six couches de diodes électrolu-
年代时，其建筑采用野兽派设计。到了 20
構造のLED３Dファサードキャンバス、 マルチ 世纪 90 年代，由于恐怖活动对该国的威 Le bâtiment de la BCP (Banco de Crédito) à San minescentes, la couche la plus externe utilisant de
タッチセンサーが装備された双方向のLED 胁，该建筑演变成了一座混凝土堡垒。最 Isidoro s’est toujours transformé avec le temps. grands nœuds de chez Philips ArchiPoint et vis-
屋外ポディウム （1.7×1.5メートル）
とインテ 新的 2014 设计则反映了现代化的、进步 L’architecture originale des années 70 présentait ibles le jour ; ceux-ci se trouvent à l’extrémité de
ラクティブ照明制御システムである。 ポディウ 的秘鲁社会。 une conception dite « brutaliste ». Dans les an- 532 perches perpendiculaires dans une grille de
ムは立体の奥行を感知し、D３ファサードに 该方案旨在创建交互式门面，从而直接吸 nées 90, celui-ci se transforma en une forteresse 19 x 28 m. Les cinq couches de D.E.L. suivantes
インテラクティブプログラムを通してタッチレ 引大众。设施主要包含三部分：带有六 de béton en raison des activités terroristes anéan- sont des points de lumière plus subtils retenus en
スで体の動きを伝えるインターフェースを提 层 LED 的三维表面帆布（覆盖 50 × 19 tissant le pays. En 2014, sa dernière incarnation chaînes de dix diodes électroluminescentes util-
供している。 × 1.2 米），具有多点触控传感器的互动 reflète une société péruvienne moderne et progres- isant des Philips Flex MX.
068 MEDIA ARCHITECTURE / BCP AFFINITY, LIMA, PERU

In total there are 26,182 RGB addressable BCP Affinity is a permanent interactive art To enable interactivity with the façade, Paz and
Cheung created a podium of LED panels that mimics
fixtures. installation and reliability is vital since it
the façade on a smaller scale. Passersby choose
A slanting monolithic podium rises represents the client’s image. The main from eight interactive shows that use both light
seamlessly from the plaza’s stonework, an servers run together with back-ups, which and sound. Multi-touch sensors detect when the
screen is touched triggering a network of interactive
array of Sensacell LED panels are diffused seamlessly replace their counterparts in an servers that remotely process the live input data.
to provide an inviting but impressive event of a failure. The corporate client can
representation of the façade at a human be assured that their installation is always
PROJECT DETAILS
scale. Multi-touch electrostatic sensors ready to start according to their schedule.
detect a presence on the podium. A network Ultimately all the technology is designed to Banco de Crédito building, San Isidro, Peru
of interactive servers remotely process the become transparent, leaving only a magical Concept & Design: Claudia Paz & Nicholas Cheung
Production: ARQUILEDS , Cesar Castro , Claudia Paz , Nicholas
live input data, returning the interactive experience and feelings evoked by the Cheung
content simultaneously to the façade and encounter. LED supplier: Philips Color Kinetics, Sensacell
Control: e:cue
back to the podium LEDs. www.claudiapaz.com

übermittelt. di LED (che coprono 50 x 19 x 1,2 metri), il podio interattivo a la actividad terrorista que azotaba al país. La última encar-
DEUTSCH Das Design der Fassade besteht aus sechs LED-Schichten, LED per esterni (1,7 x 1,5 metri) con sensori multi-touch ed i nación del 2014 refleja a la moderna y progresista sociedad
die äußerste verwendet große ArchiPoint-Knoten von Philips, sistemi di controllo interattivi di illuminazione. Il podio rileva Peruana.
Das BCP (Banco de Crédito) Gebäude in San Isidro hat im die tagsüber zu sehen sind. Sie befinden sich am Ende von la profondità 3D e fornisce un’interfaccia touchless (che può La propuesta fue crear una fachada interactiva para involu-
Laufe der Zeit zahlreiche Veränderungen durchlaufen. Die 532 senkrechten Polen in einem 19 x 28-Raster. Die weiteren essere comandata senza bisogno di toccarla) che trasmette crar directamente al público general. La instalación consiste
ursprüngliche Architektur aus dem Jahre 1970 war ein bru- fünf LED-Schichten sind dünnere Lichtpunkte, die von zehn i movimenti del corpo attraverso la programmazione interat- en tres partes principales; el lienzo 3D de la fachada con
talistisches Design. In den 1990er Jahren entwickelte es sich LEDs, die Philips Flex MX verwenden, zusammengehalten tiva dal vivo sulla facciata 3D. seis capas de LEDs (cubriendo 50 x 19 x 1.2 metros), el panel
zu einer Betonfestung aufgrund der terroristischen Aktivi- werden. Il design della facciata è costituito da sei strati di LED, il più interactivo exterior de LED (1.7 x 1.5 metres) con sensores
täten, die das Land bedrohten. Die neueste Inkarnation von esterno vede l’utilizzo di grandi nodi Philips ArchiPoint che multi-touch y los sistemas de control interactivos y de ilu-
2014 spiegelt eine moderne und fortschrittliche peruanische ITALIANO sono visibili di giorno e che sono posti sull’estremità di 532 minación. El panel censa la profundidad en 3D y ofrece una
Gesellschaft wider. pali perpendicolari in una griglia 19 x 28. Gli altri cinque interface por aproximación que transmite los movimientos
Der Vorschlag bestand darin, eine interaktive Fassade zu L’edificio BCP (Banco de Crédito) a San Isidro, è sempre sta- strati di LED sono punti di luce più sottile, tenuti a stringhe corporales sobre la fachada 3D, a través de un programa
schaffen, um die Öffentlichkeit direkt einzubeziehen. Die to a passo con i tempi. L’architettura originale del 1970 era di dieci LED con Philips Flex MX. interactivo.
Anlage besteht aus drei Hauptteilen, der 3D-Leinwand-Fas- stata progettata in modo rude. Nel 1990, si è evoluto in una El diseño de la fachada consiste en seis capas de LEDs,
sade mit sechs LED-Schichten (die 50 x 19 x 1.2 Meter ab-
deckt), dem interaktiven LED-Podium im Freien (1.7 x 1.5
fortezza di cemento a causa dell’attività terroristica che ha
rovinato il paese, ma l’ultima incarnazione del 2014 riflette
ESPAÑOL en donde la más externa, utiliza grandes nodos Philips Ar-
chiPoint que se ven con luz natural; estos están ubicados
Meter) mit Multi-Touch-Sensoren und den interaktiven und una società peruviana moderna e progressista. El edificio del BCP (Banco de Crédito) en San Isidro siempre al final de 532 polos perpendiculares en una grilla de 19
Beleuchtungs-Steuersystemen. Das 3D-Podium bietet eine La proposta era di creare una facciata interattiva per coin- ha cambiado a lo largo del tiempo. La arquitectura origi- x 28. Las próximas cinco capas de LED son puntos de luz
berührungslose Schnittstelle, die Körperbewegungen über volgere direttamente il pubblico. L’installazione è composta nal de los años 1970 era de un diseño brutal. En los años más delgados, sostenidos sobre cuerdas de diez LEDs que
eine interaktive Live-Programmierung auf die 3D-Fassade da tre parti principali: la tela 3D sulla facciata con sei strati 1990 evolucionó hacia una fortaleza de concreto debido a utilizan Philips Flex MX.
070 MEDIA ARCHITECTURE / L’AVENUE, SHANGHAI, CHINA

L’Avenue, a high-end retail and office

L’AVENUE
complex, is the first joint venture between
luxury brand conglomerate LVMH (Moët
Hennessy • Louis Vuitton) and the famous
Macau gaming and Hong Kong real estate

L’AVENTURE
mogul, Stanley Ho. The result is a ‘desti-
nation’ high-class shopping mall that draws
customers from far and wide due to its mass
of high-end luxury brands. It is also a major
landmark building in Shanghai which is no Australian lighting manufacturer Illumination
mean feat in a land of dazzling skyscrapers. Physics has collaborated with Japanese
Japanese architect, Jun Aoki, is a regular architect Jun Aoki to create the stunning media
collaborator for Louis Vuitton and L’Avenue
façade for this commercial tower in Shanghai.
is a luxury retail flagship in Shanghai. It
seems he has been tasked to take branding
to another level with the façade of L’Av-
enue. The tower rises out of a ‘necklace’
(actually a seismic collar) that forms the
boundary between the sprawl of the podium
and the vertical surfaces.
Peter Kemp and Simon McCartney of Illumi-
nation Physics (IP) were given the responsi-
bility of providing a façade lighting solution
for the building following a scheme by
Chinese lighting design firm Relux & Relux.
A logical and inevitable design concept had
already been penned. The tower and the
upper skin of the podium were decorat-
ed with several thousand metal fins that
overlap each other’s dimensions; odds and
evens like a cross-stitch. The organic side of
this serves to increase the metaphor of the
building – they are like the scales of some
creature.
Illumination Physics was handed the basis
of a design. The aim was to realise it and
make it better; more practical, more
buildable and able to be integrated into the
unforgiving process of construction that is
often so unfriendly to the façade lighting
specialist.
The fins varied in length at 6.5 metres (give
or take). That in itself was not an issue but
the width of 140 millimetres was a problem.
The concept design proposed to use a string
of pixels; LED nodes on a string of cable
with an RGB driver at the head. This seems
like the logical solution as the flexible
cable enables one to cope with differing fin
lengths. However, without a diffused layer
between the viewer and the LED all one
would see would be a row of dots. Thus, a
layer of partially opaque acrylic was pro-
posed for the front of the fins so as to even
out the ‘dots’.
This structure was highly problematic be-
cause of the need to account for wind loads
and the unstable nature of what is basically
a flexible strata of plastic that would some-
how need to be bonded to the aluminum.
Access to the LED for maintenance was
also a problem with this approach, as was
ingress of water and grime. The fins could
 071

Pic: Jason L Findley

072 MEDIA ARCHITECTURE / L’AVENUE, SHANGHAI, CHINA

never be rated at IP65.

Pic: Jason L Findley
IP kept the essence of this visual concept
but decided to stick with their normal
technical approach requiring that the light
fixtures be self-contained components that
fitted into the metal fins and butted end-
to-end to form a continuous display with no
visible joints. Each and every fixture would
be completely sealed against the elements
and easily removable for maintenance if the
need arose.
The width of the fins posed a structural
challenge. Kemp and McCartney were in-
structed that the LED fixture must com-
pletely fill the width of the fin (140mm)
which meant that they would be creating
a metal/plastic composite LED fixture that
was much wider than any they had pre-
viously designed. The structural integrity
of the tube was an issue as was the huge
volume. Under heating and cooling the air
inside the tube would attempt to expand
or contract according to Charles’s Law of
Physics. Because the size of the tube was so
large, this problem would be accentuated,
unsustainably.
IP had already developed a family of direct
view LED tube type products called IP BAR.
The essential elements are a continuous
PMMA extrusion for the diffused plastic tube
over which an aluminum chassis is fitted for
strength. The chassis provides the rigidity
and the mounting interfaces with the build-
ing, but without the need for any penetra-
tion of the plastic extrusion. During heating
and cooling, the different coefficients of
expansion of aluminum and polycarbonate
do not fight one another as the chassis is
not bonded to the tube. IP had also dealt
with the expansion and contraction of the
trapped air within by using two Gore-Tex
vents. Gas pressure could equalise with the
environment and there would be neither
negative nor positive pressure on the seals.
IP Bar is most commonly sold as an RGB
product although a white LED version is also
available. Most importantly, IP take great
care with binning to ensure that the RGB

討された。Illumination Physicsはこのコン
JAPANESE セプトのコアな部分を保ちながらも、 照明を独
右，宽度则约 140 毫米。设计概念提出
在建筑顶部，用一串 LED 像素灯和 RGB
Kong. L’entreprise Illumination Physics fut chargée
de trouver la solution d’éclairage de la façade de
L Avenueは富裕層向けの商業ビジネス施 立した部品として金属の金属スレートに埋め 驱动来装饰。为了实现这个设计，在鳍形 l’immeuble à la suite de l’appel de la société chinoise
設。 LVMH （Moët Hennessy • Louis Vuit- 込み、両端を接合して継ぎ目の見えない仕上 金属片的前面加上了一层半透明的腈纶来 de conception d’éclairage Relux & Relux. La tour et le
ton）、とマカオのカジノ、 香港不動産業界の大 がりとした 。 使这些“小点”显得平顺。Illumination contour supérieur du podium sont ornés de plusieurs
物として名高いStanley Ho氏の初めての共 Physics 保留了这个设计理念的精华，使这 milliers d’ailerons métalliques se chevauchant les uns
同事業である。中国の照明デザイン会社Re- CHINESE 个固定装置看起来像独立的部件，却又于 les autres. Les ailerons varient en longueur (env. 6,5
lux & Reluxの設計による、 ファサードの照明 鳍形金属片融为一体，而且从头到尾形成 m) et en largeur (seulement 140 millimètres). Le plan
設置を任されたのがIllumination Physics。 L’Avenue（尚嘉中心）是一所集零售和办 了一个连贯的整体，看不出任何明显的连 de conception propose l’utilisation d’une série de pixels
タワーとポディウムを覆う外壁は何千もの重な 公为一体的高端名品中心，也是首个集路 接。 D.E.L. avec un pilote RVB à son extrémité. Pour ce faire,
り合う金属スレートで装飾されている。 金属ス 易威登集团、港澳博彩房地产大亨何鸿 le concepteur proposa de mettre une couche acrylique
レートの長さは様々だが平均すると6.5メート
ルで、幅はちょうど140ミリメートル。 コンセプ
之力于一身的合资企业。参照中国灯光设 FRANÇAIS partiellement opaque à l’avant des ailerons de manière
à égaliser les « points ». L’entreprise Illumination
计公司 Relux & Relux 的拟定计划，Illu-
トデザインではタワー先端にRGBドライバー mination Physics负责为这所名品中心设计 L’Avenue, un complexe de bureaux et de magasins haut Physics garda l’essence de ce concept, mais créa un
付LED画素を使用することが提案され、画素 外观照明方案。高楼和矮墙的表面用数千 de gamme, est le premier partenariat entre LVMH (Lou- ensemble de composants autonomes insérés dans les
の「点」 を均一にするために金属スレートの正 片鳍形金属片装饰而成，相互交错重叠。 is Vuitton * Moët Hennessy) et Stanley Ho, le célèbre ailerons métalliques et placés bout à bout, offrant ain-
面には一部不透明なアクリル層の使用が検 金属片的长宽各有差异，长度在 6.5 米左 magnat du jeu de Macao et de l’immobilier de Hong si un affichage continu sans joint visible.
Photography: James Newton
074 MEDIA ARCHITECTURE / L’AVENUE, SHANGHAI, CHINA

version can mix a pure white display. As a be acceptable,” says McCartney. “The
result, colour may be used on L’Avenue for difference in length between the fin and
special occasions but white would be the the lighting would vary from zero to 50mm.
default. To complete the fascia, an aluminum plate
“In our recent experience, the IP BAR would be cut to size in order to make up
family of product had been used in similarly the difference. During the day it would look
large quantities on new façades before,” perfect, at night the differences would not
remembers McCartney. “If we could over- be noticeable.”
come the dimensional problems of up-sizing Illumination Physics created a family of
IP BAR to suit L’Avenue without increasing variable length light fixtures that could be
the cost, we were confident we could be on combined in a certain order so that it was
target.” possible to fill the differing fin lengths.
By sloping the sides of the LED tube, Illu- The façade for L’Avenue, complex as it is, is
mination Physics created a stiffer structure a unitised curtain wall system all the same.
that was better able to resist torsion. They The façade is made up of a panel system
also made the front face wide to fill the in which the pieces were manufactured off
fins without compromising the structural in- site and then transported in batches to the
tegrity resulting in a fortuitous and critical building. In a predetermined order the pan-
advantage in this new profile. The truncat- els were lifted from the ground by a hoist
ed triangular section dramatically trimmed that could travel around the perimeter
the volume of the fixture to the point that of a higher concrete floor (the temporary
the two Gore-Tex vents could again cope mono-rail). The panels were then stacked
with the expected expansion and con- one upon the other and hung from metal
traction of the trapped air inside the new brackets that had been cast into the con-
product. And so Illumination Physics had the crete edge above (called ‘embeds’).
basis of a workable design that they dubbed Effectively the panels are ‘hung’ in the
‘IP BAR-LUX’. same way as curtains are in a window,
Janine Dettki, a façade engineer who works hence the name ‘curtain wall’.
for Josef Gartner, in Germany adapted the The assembly sequence of the curtain wall
snap-in fixing technique in order to fix panels dictated the cable network design
the IP BARs on to the façade. The snap-in because the lighting crew was required
The different lengths of the IP BAR LUX were
is very strong and involves a spring steel to keep in-step with the façade assembly assembled at the factory before being installed
hooked prong being forced into the narrow- crew. The location of the driver within on the façade. The luminaires are controlled by an
Illumination Physics control system.
ing throat of a toothed wedge until it snaps each fin was driven by the need to reach it
over the teeth. In this position the arrange- by hand as the assembly was lowered into
ment is very secure and the fixture cannot position. Like a slower Formula One pit
be pulled out. Removal requires a special stop, each of the crew had his own task,
tool to unload the spring before the teeth practiced and coordinated with one another
can disengage. at the work site. PROJECT DETAILS
Unfortunately, whilst studying the plans L’Avenue grasps your attention in a way
L’Avenue, Shanghai, China
closely it was discovered every one of the that a rare and truly valuable art piece Lead Architect: Leigh & Orange
fins was a different length! does. You cannot miss it and you cannot Architect: Jun Aoki
easily look away once you have been cap- Façade Design: Illumination Physics (Peter Kemp, Simon
After the initial panic, Illumination Physics
McCartney)
set out to find a solution. “If we could tivated. Lighting Design: Relux & Relux (Roger Lim)
match the length of the fin to within 50mm www.aokijun.com Curtain Wall Engineer: Josef Gartner (Janine Dettki)
LED & control supplier: Illumination Physics
with our LED luminaires, then that would www.illuminationphysics.com

boten, um die ‘Punkte’ auszugleichen. Illumination Phys- alette metalliche che si sovrappongono l’un l’altra. Le alette el magnate de los bienes raíces en Hong Kong, Stanley Ho. A
DEUTSCH ics bewahrte die wesentlichen Aspekte dieses Konzepts, variano in lunghezza di circa 6,5 metri e in larghezza di soli Illumination Physics se le dio la responsabilidad de proveer
gestaltete die Beleuchtungskörper allerdings als in sich 140 millimetri. Il progetto proponeva l’uso di una serie di una solución de iluminación para la fachada del edificio
L’Avenue, ein Geschäfts- und Bürokomplex der Luxusklasse, geschlossene Komponenten, die in die Metallstifte hinein- pixel a LED controllati da un driver RGB. Per ottenere ciò, siguiendo un proyecto de la empresa China de diseño de
ist das erste Joint Venture zwischen LVMH (Moët Hennessy • passen und sich ineinander reihen, um ein kontinuierliches è stato proposto uno strato di acrilico parzialmente opaco iluminación, Relux & Relux. La torre y el revestimiento su-
Louis Vuitton) und dem berühmten Spielmogul aus Macau Display ohne sichtbare Verbindungen zu bilden. sulla parte anteriore delle alette in modo da uniformare i perior de la pantalla están decorados con varios miles de
und Hong Kongs Real Estate Mogul, Stanley Ho. Illumination “punti”. Illumination Physics ha mantenuto l’essenza di aletas de metal que se superponen unas con otras. Las ale-
Physics war verantwortlich für eine Beleuchtungslösung
ITALIANO questo concetto, ma ha reso gli impianti dei componenti tas varían en longitud en alrededor 6.5 metros y un ancho
der Gebäudefassade gemäß dem Entwurf der chinesischen autonomi che montati nelle alette di metallo, vengono de solo 140 milímetros. El diseño conceptual proponía el
Beleuchtungsfirma Relux & Relux. Der Turm und die obere L’Avenue, un complesso di negozi e uffici di alta classe, savrapposti per formare un display continuo senza giunti uso de una línea de pixeles de LED con un RGB a la cabeza.
Schicht des Podiums wurden mit Tausenden von Metall- è la prima joint venture tra LVMH (Moët Hennessy • Louis visibili. Para lograrlo, se propuso una capa de acrílico parcialmente
stiften verziert, die sich überlappen. Die Stifte differieren in Vuitton) ed il famoso magnate del gioco Macao e Hong opaco para el frente de las aletas para destacar los puntos.
der Länge von etwa 6,5 Metern und einer Breite von nur 140 Kong, Stanley Ho. Ad Illumination Physics è stata data la ESPAÑOL Illumination Physics mantuvo la esencia de este concepto
Millimetern. Das Konzeptdesign hat die Verwendung einer responsabilità di fornire una soluzione per l’ illuminazione pero realizó los artefactos como componentes autónomos
LED-Pixel-Kette mit einem RGB-Treiber am oberen Ende della facciata dell’edificio, seguendo uno schema della Re- L’Avenue, un complejo de oficinas y ventas minoristas de que encajaban en las aletas de metal haciendo coincidir
angeboten. Um dies zu realisieren, wurde eine Schicht aus lux & Relux (società cinese di design luci). La torre e la parte primer nivel. Es el primer joint venture entre LVMH (Moët los extremos para formar una imagen continua sin juntas
teils blickdichtem Acryl für die Vorderseite der Stifte ange- superiore del podio sono decorate con diverse migliaia di Hennessy Louis Vuitton) y la famosa Macau de los juegos y visibles.
CALL FOR PAPERS Rome
Professional Lighting
Design Convention
www.pld-c.com
28. – 31. October, 2015

CALL FOR PAPERS

The Call for Papers for PLDC 2015 will
be published on 1. September, 2014!!

Play an active part in the PLDC 2015

programme and submit your paper
for review at www.pld-c.com.

NEXT WARM-UP EVENTS

- Conference in Istanbul/TY
- Workshop and seminar in Monza/I
- Round III of The Challenge in
Edinburgh/UK

UPDATE

Check out the programme structure

on our website now.

Stay informed so as not to miss any

details on this first-class global event.

PLDC is a brand of the

 MEDIA ARCHITECTURE / THE ENERGY TOWER, ROSKILDE, DENMARK 077

TOWERING
INFERNO
The Energy Tower facility stands as
a landmark on the edge of Roskilde
in Denmark, with a glowing façade
scheme that expresses the dual
waste incineration and energy
production processes carried
out within.

All pics: Jeppe Sørensen

With an increasing awareness of the need art waste-to-energy incineration line, they planes, the plant is able to produce energy
to combat climate change, the worlds of were keen that the new structures should from residual waste that cannot otherwise
business and politics are more willing than be celebrated with an integrate façade be recycled. Located only a few hundred
ever to embrace technologies that will help scheme. They envisioned a structure with meters from one of the major inroads to the
in the fight to reduce global C02 emissions the ability to communicate and relay Danish Capital of Copenhagen, it is visible
from fossil fuels. Indeed having the right messages of sustainable energy to the to thousands of spectators each day.
green credentials has become an essential public. The tower was designed by Dutch architect
part of many corporate identities. When The Energy Tower, as the new facility is and expert in sustainable design Erick Van
Danish waste management company KARA/ popularly known, stands tall on the skyline Egeraat, who brought in Danish lighting
NOVEREN made the decision to replace of the Danish city of Roskilde. Inside its architect Gunver Hansen to identify and
two of their furnaces with a state-of-the- punctuated façade of irregular geometric implement the most optimal lighting
078 MEDIA ARCHITECTURE / THE ENERGY TOWER, ROSKILDE, DENMARK

solution. An extensive testing phase began for the Energy Tower. Ultimately, Martin back into a state of burning embers.” 


to determine the best choice of fixtures, Professional’s Exterior range were chosen The tower’s structure consists of a framing
the requirements for which were very for the project due to their size, durability, grid built around the new chimney. Amber-
specific. The lighting solution had to be and colour reproduction capabilities. coloured aluminium plating is mounted
capable of reproducing the lighting concept Van Egeraat wanted the illumination of onto the grid to form the exterior façade
created by Van Egeraat. This meant all the tower to contribute to the structure’s of the tower. Lighting fixtures are mounted
fixtures had to be individually controllable identity by referencing the combustion and on the grid and angled to project onto
to give the building a dynamic expression, energy making process within. 
 the inner façade. This light is then visible
and be able to illuminate the relatively dark “At night the backlit, perforated façade at night through the laser-cut circular
projection surface. The lighting had to be transforms the incinerator into a gently openings of the outer facade. Many factors
bright and powerful enough to be seen from glowing beacon - a symbol of the plant’s had to be taken into consideration. The
a distance, while still meeting the desire of energy production,” explains Van Egeraat. distance between the exterior façade and
low power consumption. 

 “Several times an hour a spark of light will the interior projection surface varies across
Even before the construction process had gradually grow into a burning flame that the entire structure, so the position of
started, various tests were performed lights up the entire building. When the each individual fixture had to be carefully
on surfaces similar to those proposed metaphorical fire ceases, the building falls considered to ensure colours would mix

る。一時間に数回ほどのまたたきが徐々に建
JAPANESE 物全体を明るく照らす大きな炎となるが、
この
TM 和 Tripix 1200TM 两种型号的LED灯，
由 Martin MPC、RDM 5.5 分离机和 RDM
penhague, cet édifice offre une portée énorme et
des milliers de spectateurs potentiels au quotidien.
デンマークの町ロスキレにひときわ高くそび シンボリックな炎が消えると建物は残り火の 5.5 来控制。它们呈现了 Van Egeraat 的设 L’architecte néerlandais Érick Van Egeraat invita
えたつThe Energy Towerは、 廃棄物処理 状態に戻る。 想——将这个焚烧塔变成散发着微光的灯 l’architecte-éclairagiste danois Gunver Hansen afin
会社KARA/NOVERENによる最新鋭の廃 塔。同时这也是该能源生产设施的一个象 qu’il identifie la solution d’éclairage rêvée, et installe
棄物熱源転換焼却設備。首都コペンハーゲ
ンへの幹線道路まで数百メートルというアク
CHINESE 征。一小时内每隔一段时间，星星之光会 des appareils individuellement contrôlables, capa-
逐渐变成点亮整个建筑的“熊熊火焰”。 bles d’éclairer cette surface de projection relative-
セスの良さから、一日数千人もの見物客が 高耸在丹麦罗斯基勒的“能源塔”是顶尖 当“火焰”退去，建筑又如同燃烧的灰烬 ment sombre en utilisant une faible consommation
見込むことができる。 オランダの建築家Erick 的废物再生能源焚烧线，它由废物管理公 一般。 énergétique.
Van Egeraatがデンマークの照明デザイナー 司 KARA/NOVEREN 设计建造。“能量 Des appareils Martin Exterior 410 et Tripix 1200 ont été
Gunver Hansenを起用し、 一つずつ調節可 塔”所在的位置距通往哥本哈根（丹麦首 FRANÇAIS choisis. Contrôlés par un Martin M-PC de chez Martin,
能で消費電力が少なく、 比較的暗い映写面を 都）的一条主干道只有几百米，每天几 les diviseurs RDM 5.5 et Ether 2DMX reproduisent la
照らすのに最適な照明を選択、 採用した。 乎都有成千上万的人来参观。荷兰建筑师 La tour dénommée « Energy Tower » est une ligne vision de Van Egeraat, transformant la tour en un
選ばれたのはMartin Exterior 410とTripix Erick Van Egeraat 邀请了丹麦的照明设计 d’incinération des déchets à valorisation énergétique doux phare rougeoyant - un symbole de la production
1200。MartinのMartin M-PC、RDM 5.5ス 师 Gunver Hansen 来鉴定和落实最佳的照 exemplaire construite par la société de gestion des énergétique de l’usine. Plusieurs fois par heure, une
プリッターとEther 2DMXの制御による照明 明设计方案——照明的固定装置是可以单 déchets KARA/NOVEREN, qui se dresse fièrement étincelle de lumière se transforme progressivement en
は、焼却塔を穏やかに燃える篝火に見立て、 独控制的，不仅可以有选择地照亮相对黑 à l’horizon de la ville danoise de Roskilde. Situé à une flamme ignée illuminant l’ensemble de l’édifice.
工場でのエネルギー生産のシンボルとした 暗的放映面，还可以降低能耗。 seulement quelques centaines de mètres de l’une Lorsque le feu métaphorique s’éteint, l’édifice retourne
い、というVan Egeraatの思いを映し出してい 设计师 Egeraat 选用了 Martin Exterior 410 des entrées principales de la capitale danoise Co- à son état de braise ardente.
 079

correctly and output would be even. after the launch of the new tower scheme. Martin Professional fixtures project light onto
the inner façade of the structure, a glow which
Fixture placement also had to ensure there “People respond very well to the idea
is visible through the laser cut holes in the outer
were no direct views of LED light sources, and the concept, and they really like façade layer. Several times an hour a spark of light
so a number of the projectors had to be what it adds to the area in terms of gradually grows into a burning flame that lights up
the entire building, a reference to the incineration
screened off. architecture and beautiful lighting. This and energy production carried out within.
In addition to these technical decisions, the is extremely valuable to us for branding
physical access between the inner surface purposes and to secure a future leading
and the new exterior façade was limited. position in waste management. We see it
The use of lifting machinery was impossible, as a great investment on several levels.
so the installation had to be carried out We’re happy to combine an investment in PROJECT DETAILS
by a team of professional climbers from modern waste management methods with
The Energy Tower, Håndværkervej 70, Roskilde, Denmark
Danclimb who mounted the fixtures via rope an extraordinarily beautiful structure and Client: KARA/NOVEREN
access. landmark for the area.” 

 Architect / Lighting Concept: Erick van Egeraat
Lighting Architect: Gunver Hansen
“We’ve already received overwhelming www.erickvanegeraat.com
Lighting Specified: Martin Professional 112 x
Exterior 410, 78
public support for this project,” commented x 
Tripix 1200, Martin M-PC, RDM 5.5 splitter, Ether 2DMX
Thorkil Jørgensen, CEO of KARA/NOVEREN,

Van Egeraat – den Turm in ein sanft glimmendes Licht- riguarda l’illuminazione della Torre, utilizzando apparecchi guida sobre el horizonte de la ciudad Danesa de Roskilde.
DEUTSCH signal zu verwandeln - Symbol für die Energieerzeugung che fossero sia regolabili singolarmente ed in grado di illu- La misma está ubicada a unos pocos cientos de metros
der Anlage. Mehrmals stündlich wächst ein Lichtfunken minare la superficie di proiezione relativamente scura, ma desde uno de los principales empalmes a la Capital Dane-
Der Energy Tower - eine hochmoderne Müllverbrennung- zu einer brennenden Flamme, die das gesamte Gebäude che avessero anche un basso consumo energetico. sa de Copenhague y cuenta con un gran alcance y miles de
slinie, die von dem Unternehmen für Abfallentsorgung erhellt. Wenn das metaphorische Feuer erlischt wird das Per questo, sono stati scelti i Martin Exterior 410 e i Tripix potenciales espectadores a diario. El arquitecto holandés,
KARA/NOVEREN gebaut wurde - richtet sich hoch in der Gebäude wieder zu einem Haufen brennender Glut. 1200. Controllati da un Martin Martin M-PC, da uno splitter Erick Van Egeraat, trajo al Arquitecto Danés, especialista
Skyline der dänischen Stadt Roskilde auf. Er liegt nur RDM 5.5 e Ether 2DMX essi danno forma a quella che era en Iluminación, Gunver Hansen para identificar e imple-
einige Hundert Meter entfernt von einem der Hauptstraßen
in die dänische Hauptstadt Kopenhagen und verfügt über
ITALIANO l’idea di Van Egeraat, cioè trasformare la torre dolcemente
in un faro incandescente (un simbolo della produzione
mentar la solución en iluminación que fuera la más óptima
– como artefactos controlables individualmente, capaces
eine große Reichweite und potentiell Tausenden von Be- L’ Energy Tower, un’ elemento all’avanguardia nel set- d’energia sprigionata dalla pianta). Più volte all’ora una de iluminar la superficie de proyección relativamente os-
trachtern täglich. Der holländische Architekt Erick Van tore dell’ energia ricavata dall’ incenerimento dei rifiuti scintilla di luce cresce poco a poco fino a diventare una cura con un bajo consumo de energía.
Egeraat brachte den dänischen Beleuchtungsarchitekten (costruita dalla società di gestione di rifiuti KARA/NOV- fiamma ardente che illumina l’intero edificio e quando il Se optó por Martin Exterior 410 y Tripix 1200. Controlado
Gunver Hansen für die Identifizierung und Umsetzung der EREN), si erge sulla skyline della città danese di Roskil- fuoco metaforico cessa, l’edificio ricade in uno stato di por un Martin Martin M-PC, RDM 5.5 splitter y Ether 2DMX
optimalsten Beleuchtungslösung ein – Beleuchtungskörp- de. Situata a poche centinaia di metri da una delle più braci ardenti. logran la visión de Van Egeraat – convertir a la torre en
er, die einzeln gesteuert werden können, in der Lage, die importanti scorrerie alla capitale danese Copenhagen, la un faro cuidadosamente brillante - un símbolo de la pro-
relativ dunkle Projektionsfläche zu beleuchten und die torre ha un’enorme portata e potenzialmente attira migli- ESPAÑOL ducción de energía de la planta. Un destello de luz crece
wenig Strom verbrauchen. aia di spettatori su base giornaliera. L’architetto danese gradualmente convirtiéndose en una ardiente llama varias
Martin Exterior 410 und Tripix 1200 wurden ausgewählt. Sie Erick Van Egeraat ha coinvolto il connazionale Gunver La Torre Energética - una línea de incineración de última veces por hora, lo que ilumina al edificio entero. Cuando
werden durch einen Martin Martin M-PC, RDM 5.5 Splitter Hansen (progettista dell’illuminazione) per implementare generación para la producción de energía construida por el fuego metafórico cesa, el edificio vuelve al estado de
und Ether 2DMX gesteuert und reflektieren die Vision von ed identificare quale fosse la soluzione ottimale per quanto la empresa de residuos KARA/NOVEREN - se encuentra er- brazas ardientes.
080 MEDIA ARCHITECTURE / PUBLICIS DRUGSTORE, PARIS, FRANCE

DRUGSTORE
COWBOY
A new LED layer by ECA2 adds an extra
element to the curved glass façade of the
Publicis Drugstore on Paris’s famous
Champs Elysées.
 081

In July this year, the Publicis Group unveiled

a new façade of their headquarters
at 133 Avenue des Champs Elysées, a
transformation of the existing swirling glass
planes into a semi transparent screen of
LED pixels.
Sitting at the edge of the Étoile roundabout
- home to the Arc de Triomphe – the building
has a long history of groundbreaking
evolution.
Marcel Bleustein-Blanchet, founder of
the Publicis advertising agency, set up
his offices in the former location of the
Astoria hotel built in 1900 at the top of the
Champs Elysées. In 1958 he opened the first
European drugstore on the ground floor.
The Publicis Drugstore – a bar, restaurant,
cinema, shop, newsstand, tobacco shop and
pharmacy that stayed “open all night” -
revolutionised Parisian life.
The Publicis Drugstore building was totally
destroyed by fire in 1972 and, soon after,
replaced by a simple, modern structure.
In 2004, Californian architect Michele
Saee transformed the Publicis Drugstore in
collaboration with ECA2, an agency within
the Publicis Group, by installing 153 curved
glass panels onto the old façade. In 2014,
this evolved further with the introduction
of 17,000 LEDs across the 800m2 of glass
panels.
The installation – the addition of a
technological layer to an already complex
architectural structure - was fraught with
challenges. 24 months of research, designs
and preparation went into the creation of
the façade. 20 rope access technicians were
required to position the LEDs in a perfect
grid pattern behind the glass.
To fit each convex curve of the 153 glass
sheets, ECA2 had to design a unique fixture,
one that would meet the constraints of the
site: to respect the spirit of the existing
structure, the identity of the Champs
Elysées and nearby Arc de Triomphe, and
be mindful of the employees working the
windows of the building. In addition, the
project conforms to a strict environmental
charter; each pixel only consumes one
watt per hour, which at full capacity is 17
kilowatts for the entire building.
www.eca2.com

PROJECT DETAILS

Publicis Drugstore, 133 Avenue des Champs Élysées, Paris,

France
Client: Publicis
Lighting Design: ECA2
Architect: Michele Saee
LED Supplier: Galaxia France
082 MEDIA ARCHITECTURE / CASINO BREGENZ, BREGENZ, AUSTRIA
 083

FINE
LINES
A new extension to Casino
Bregenz features an alluring
façade of colour-changing lines.

Earlier this year, Casino Bregenz was

transformed and expanded with a new
extension and dynamic LED media façade.
From inside, guests enjoy an unhampered
view of Lake Constance, while the attention
of passers-by is drawn towards the flowing,
slightly irregular arrangement of horizontal
metal elements. When night falls, the
façade is transformed into a shining
interplay of colours, thanks to a Zumtobel
CAPIX evolution LED media façade system.
As the individual CAPIX elements are linked
by only one data line and one supply line,
the 6,500 individual pixels cling to the
curved façade of the new building like a
second skin. In total, the casino was fitted
with 1,140 metres of CAPIX. A dedicated
control system produces a series of colour
changing effects as well as offering the
option of running a sequence of moving
images across the façade.
Each pixel incorporates three RGB LEDs,
producing a bright and brilliant effect, even
when viewed from a great distance. At the
same time, the façade lighting complies
with the strict requirements regarding
nature and bird protection applicable in
Bregenz and features excellent energy
efficiency.
The façade blends perfectly into the
scenery and adds additional splendour
to the cultural mile that has developed
over recent years, running from the KUB
Kunsthaus to the Landestheater and
vorarlberg museum through to Festival
Square, where the casino is located.
www.zumtobel.com

PROJECT DETAILS

Casino Bregenz, Platz der Wiener Symphoniker, Bregenz,

Austria
Client: Casinos Austria AG
Lighting Supplier: Zumtobel
All pics: Marcel A. Mayer
084 MEDIA ARCHITECTURE / RHÔNE ARCHIVES, LYON, FRANCE

Pics: Renaud Araud

GOLDEN
NARCISSUS
The Rhône archives in Lyon is a building with almost
brutalist credentials. Les Éclaireurs developed a lighting
projection for its golden sides inspired by Greek myth.
 085

The new building holding the municiple

archives of Rhône, an area of Lyon, can
be found in the very centre of the French
city’s business district. Built along the
railway lines in a former industrial section
of the town, the library is formed from
three golden volumes, three large beautiful
boxes, which express the great value of
the documents, history and knowledge held
within the building’s walls.
Created as part of a program encouraging
the creation of artworks on public
buildings, the Rhône project was designed
by Les Éclaireurs, a youthful and busy
French design agency, which has worked on
buildings across France.
Les Éclaireurs light projection artwork
acts to highlight the golden surface of
the building’s façades, while creating a
counterpoint by washing the top two floors
of the building in a cold white light.
The large golden façades offer the perfect
setting for dynamic video projections
and the design team created a series
of projections based on the theme of
Narcissus, the Greek hunter who died
staring at his own reflection in a pool.
The two video projections perform a
dialogue with each other, face to face. The
façades have been mapped to ensure that,
innovatively, the video projections are used
to create lighting effects and not images.
During the four sequences of ten minutes
each, golden skins are superimposed on
the façades, while subtle movements of
brightness pass from one façade to the
other, geometrical forms mirroring and
switching from one side to the other, The sequences projected onto the Archives
building was created from real footage, mixed with
creating a brilliant effect that prompts the virtual images that move across the golden walls
surface to vibrate as if the façades were creating a fine effect on an impressive building.
the surface of a golden sea.
The sequences are made of real footage
mixed with virtual images, which flit The video projectors have been placed
PROJECT DETAILS
across the golden walls, creating symbols on the roof of the central void and locked
and patterns that can be interpreted and in waterproof and controlled climate Rhône Archives, Lyon, France
containers. The containers have been Client: Conseil Général du Rhône
considered as the viewer so wishes. Architect: Gautier + Conquet, Bruno Dumetier, Agence
To fit this to the urban scale and covered with the golden material of Séquences
temporality of the business district, the façades in order to match with the Lighting Design: Les Éclaireurs

the sequences are randomly projected structure and not distract from its strictly
during the first part of the night. To use linear features.
On the railway side of the building, the
LIGHTING SPECIFIED
video projection in the urban realm, as a
permanent installation, it is necessary to golden façade is constructed of vertically Front Facade media façade
find ways to extend the artwork’s lifetime. fitted sun shading panels and is lit using 2 x CHRISTIES video projector 16 000 lm
2 x special protection boxes for the VP with internal regulated
Therefore, in between the two sequences, a matrix of LEDs, including Philips and
climate
the façades are bathed in simple lighting. Nicolaudie fixtures, which have been 1x CRESTRON automation unit
skillfully hidden behind the frontage. 1 x media server
When the city begins to settle down for the 2 x fiber optic connection
night, the projection slows down further When considered as one, the programming Top of the building
and the videos are replaced by façade creates waves of light that give the - 180 x SFEL Tumo TF 54W 6500K DALI
- level set by Building management system
lighting created by LED lamps. With this impression to the viewer that light is
LED programmed media facade at the back of the building,
strategy, the maintenance of the video passing through the building, creating along the railway track
a stunning effect on an already visually - 100 x PHILIPS Egraze 300mm 3000K DMX
projectors is required every two years, - 1x NICOLAUDIE STICK DE3 panel for the LED media
prompting the cost of the display to remain arresting structure. programming
acceptable. www.leseclaireurs.net
086 PROJECT / THE ONE, HONG KONG, CHINA

ONE IS BETTER
THAN TWO
A startling three in one dining experience perched above the
neon wonder world that is Hong Kong, The One takes diners on
a culinary adventure through differing cultures and cuisines.
Lighting designers Firefly created differing lighting schemes for
each section of the restaurant, creating a discernibly different
atmosphere in each.
087
088 PROJECT / THE ONE, HONG KONG, CHINA

Perched on the 18th floor of Hong Kong’s

The Zurriola is the Spanish inspired section of
tallest retail complex, The One is a ‘three The One, Firefly Lighting Design used Megaman
in one’ dining experience created by Hong fixtures to highlight the pieces of art which bring a
sense of grandeur and glamour to the space.
Kong-based Chinese actress, Carina Lau and
Aedas Interior Ltd’s award-winning designer,
Ira Imerlishvili, whose signature resort and
hotel projects span five continents.
Firefly Lighting Design was commissioned
to work across the whole 18th floor project
which includes three different high-end
restaurants as well as a tapas bar, link
corridor and restrooms, with Owen Xuan in
the Firefly Hong Kong office taking the lead.
Taking inspiration from as far afield as Kyoto
and Barcelona, two of the three restaurants
offer fine-dining experiences and the third
is a glamorous tapas and sangria bar. Each
of the venues has been designed to suit the
themes of the country they represent, with
Peter Veale and his team at Firefly Lighting
acting to create an individual look and feel
for each of the three spaces.
“It was extremely important to use lighting
to create three very different dining
experiences and yet have a consistency
to the scheme that tied them together,”
comments Veale.
“As all three restaurants have floor to
ceiling glazed expanses that deliver
dramatic views across Victoria Harbour,
we chose to unify them with concealed
lines of light along the blinds by using only
two types of Megaman LEDs throughout,
enabling us to keep the colour temperature
consistent.”
The lighting needed to complement and
accent the interior design of each individual
space with appropriate light levels for the
type and mood of each restaurant. It was
also required that Firefly comply with Hong
Kong’s recently-introduced energy code,
while meeting the client’s tight budget.
One particular challenge for this project
was the amount of daylight penetrating
through to each restaurant through the
typically large tower block windows. The
lighting design created acted to even out
the day-lit spaces by balancing out the
artificial light levels provided. Light levels
were programmed throughout the daytime
to change and slowly transform to dramatic
and intimate restaurant atmospheres at
night.
The link corridor lighting plays an important
role, balancing out the neutral zone
between the lift arrival area and the three
dining areas and restrooms. All the lighting
in the entrance area is indirect, with
concealed lines of light hidden behind the
wall and ceiling panels.
Concealed lines of Megaman AR111 lamps
run along the wall and ceiling panels
throughout the corridor that connects the
090 PROJECT / THE ONE, HONG KONG, CHINA

The Kyo-Shun section of The One offers Kaiseki cuisine in an authentically atmospheric space. Firefly Lighting Design decided to use edge-lit glass walls in the space,
as well as ‘wall grazing’ techniques that disperses light across wall surfaces, creating a particular sense of drama in the room.

three restaurants and the restrooms, to art to create drama while transporting the without causing any residual glare to the
the main lift. The only direct lighting used vitality of Barcelona to its diners. seated diners.
in this space highlights the names of each As well as accenting these pieces, Kyo-Shun, the Japanese restaurant within
restaurant to visitors on their arrival. Firefly also decided to make a feature of The One serves Kaiseki cuisine, a traditional
All three restaurants are unified by a gentle Zurriola’s floor to ceiling wine display. multi-course Japanese dinner. The space has
glow that lights the blinds, which are Using Megaman’s 10W LED AR111 lamp been designed to include a main dining area
lowered slightly for effect. technology to light the artwork, Firefly also that overlooks an outdoor Japanese garden,
Each restaurant has its own characteristic chose to use Megaman’s 8W MR16 28° and as well as a sushi bar and teppanyaki tables.
design, but all have in common a 36° narrow beamed LED reflector lamps to The lighting within the space is a mix of
contemporary approach. highlight the bottle labels in the wine racks. both the functional and the dramatic.
The Zurriola, the Spanish inspired fine By accenting the artworks and wine racks, Firefly opted to incorporate integral
dining restaurant in The One, is more the end result is a sophisticated lighting lighting through edge-lit glass walls in
traditional and uses large-scale works of scheme that brings drama to Zurriola, this area of the project. The technique of

は高級素材と照明スキームを使用してDJブ
JAPANESE ースを光で囲み、壁面に動く水の映像を映し
fly 还选用 Megaman 的 8W MR16 28° 和
36° 窄光束 LED 反射灯来加亮酒架上的
un peu partout. Dans le Zurriola, le restaurant à
thème espagnol du The One, une exposition de vins
香港で最も背の高い商業施設ビルの18階 出すことで特色を際立たせてコントラストを 酒瓶标签。日本餐厅 Kyo-Shun 的特点则 fut montée du plancher au plafond. La technologie
に作られたThe Oneは居ながらにして3つ 生じさせている。この繊細な光の線はバーや 是大面积的“墙掠射”，将光线在墙面分 D.E.L. 10 W AR111 de Megaman met en lumière
の体験ができるレストラン。18階の店内全体 オープンキッチンの周りの演出にも使用され 散开来，呈现出一种戏剧效果。名为 Ta- cette œuvre d’art. Firefly a choisi d’utiliser des ré-
の照明デザインを任されたFirefly Lighting ている。 pagria 餐前小吃区的设计使用了丰富的材 flecteurs à diodes électroluminescentes très intens-
Design は全面的にMegaman の照明を使 料，此外照明的设计方案有一些突出的亮 es de 8 W MR16 à 28° et 36°de chez Megaman, afin
用した。The Oneのスペイン料理のエリアで
あるZurriolaでは、床から天井まで達するワ
CHINESE 点，比如 DJ 展台被一个光环围绕，栩栩
如生的雨水效果装饰了整个墙面。微妙的
de souligner les étiquettes des bouteilles placées
dans les casiers. Kyo-Shun, le restaurant japonais
インのディスプレイが施された。オブジェを The One 位于香港最高商场的 18 层， 光线笼罩着吧台和开放式厨房。 présente un éclairage rasant qui disperse la lumière
照らすMegamanの10ワットLED AR111と 在这里可以享受到“三合一”的餐饮体 sur les surfaces murales, créant ainsi un effet
ともにFireflyが選んだのは、棚に並ぶワイン 验。Firefly Lighting Design（萤火虫灯光 FRANÇAIS dramatique. Dans le restaurant à tapas Tapagria,
ボトルのラベルを照らす局所照明用反射型 设计公司）受托来负责整个18楼的灯光设 de riches matériaux sont utilisés et le système
電球Megamanの8ワットMR16、No.28°と 计，并且全都使用 Megaman 装置。Zur- Perché au 18e étage du plus haut complexe com- d’éclairage offre un contraste en accentuant des
No.36°。日本料理のレストランエリア京旬で riola 是 The One 中的西班牙主题餐厅， mercial de Hong Kong, The One offre une expérience éléments tels que la cabine du DJ, baignée dans un
は壁に多数のグレイジングを施して壁の表面 它的特点是从地面到天花板的一整面酒品 culinaire « trois en un ». L’entreprise Firefly Light- halo de lumière, et les murs animés de fausses cas-
全体に光を散らし、 ドラマティックな効果をあ 展示。设计师使用 Megaman 的 10W LED ing Design travailla sur l’ensemble du projet du 18e cades d’eau. Ces subtiles lignes de lumière dessi-
げている。 タパスのエリアであるTapagriaで AR111 灯光技术使工艺品闪闪发光。Fire- étage, et des équipements Megaman furent utilisés nent aussi le contour du bar et de la cuisine ouverte.
 IP67

PROLED INGROUNDS
WITH LED TECHNOLOGY

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
092 PROJECT / THE ONE, HONG KONG, CHINA

Far left The floor to ceiling wine racks were used as

a feature by Firefly who used Megaman fixtures to
highlight the labels on the bottles without creating
glare. Top left The Tapagria tapas bar was lit to
ensure the space can be easily transformed into
a nightclub during the evening. Bottom left The
entrance to Kyo-Shu, the link corridor that connects
all the areas of the restaurant together was lit with
concealed lines of Megaman AR111 lamps.

PROJECT DETAILS

The One, Hong Kong, China

Client: The One
Interior Design: Ira Imerlishvili
Lighting Design: Firefly Lighting Design

LIGHTING SPECIFIED

Forma Lighting Multigimbalo Trimless 1 + 2 recessed

adjustable gimbal downlights (Megaman AR111 LED)
Forma Lighting Occhio pinhole downlights (Megaman MR16
LED)
Forma Lighting Bullet IP66 exterior surface mounted LED
spotlights
Lighting Plus recessed & surface mounted downlights
(Megaman AR111 LED)
Lighting Plus exterior spike mounted MR16 spotlights
Pro-Light Partition LED light bars
Pro-Light Flexible LED strips
LED Linear VarioLED Flex Nike / Venus LED channels
Feelux surface mounted dimmable slim T5
dot-spot inground LED uplights
Rosco X24 X-Effects projectors

‘wall grazing’, dispersing light across wall uses rich materials and the lighting scheme animated water effect for a more vibrant
surfaces, has also been used throughout and provides contrast by accenting features night-club feel.
creates a particular sense of drama on the such as the DJ booth which is bathed in a The same selection of specified LED
lowered ceiling in the dining area, using halo of light and the animated water effect luminaires was used throughout the project,
Megaman’s 10W AR111 and 8W MR16 lamps. feature walls. As well as this, subtle lines of employing the same LED lamp for different
Kyo-Shun has an indoor and outdoor light have been placed around the bar and types of downlight to unify the colour
Japanese garden and the restaurant the open kitchen. temperature while allowing a more simple
features a combined sushi bar, teppanyaki The glamorous Tapagria tapas and sangria installation and maintenance process for all
and table serving. The lighting here is both bar is a dining destination during the week those involved.
functional and dramatic, with integral and is transformed into a nightclub for the The One is a unified space of differing
lighting within displays including edge-lit weekend. Designed using tailored timber parts and the fact that there is a sense
glass walls and grazing techniques and a and wood interiors to mirror the Spanish of togetherness running throughout it is
glowing ceiling at the sushi bar. head chef’s authentic cooking style, the surprising, given the vastly different nature
The teppanyaki area has a sand effect on dramatic scheme developed for this area is of the interlocking parts. The lighting design
the lowered ceiling, which is grazed with all about contrast. The feature walls within plays its part to hold this project together
light. Tapagria have been lit using Megaman’s in a seamless fashion.
The design for the tapas area, Tapagria, AR111 lamps, to create the illusion of an www.fireflylightingdesign.com

verteilen. Das Design im Tapasbereich Tapagria verwen- are l’ opera d’arte, la Firefly ha anche scelto di utilizzare comendó trabajar a lo largo de todo el proyecto del piso
DEUTSCH det wertvolle Materialien und das Beleuchtungskonzept dei fari a LED a fascio stretto 8W MR16 da 28 ° e da 36 ° 18 y se utilizaron artefactos Megaman. En La Zurriola, la
verschafft Kontraste durch die Betonung von Merkmalen della Megaman per evidenziare le etichette delle bottiglie experiencia gastronómica temática española en The One,
In der 18. Etage des größten Geschäftskomplexes von wie den DJ-Stand, der in einen Lichthof eingetaucht wird, di vino nelle cantine. Il ristorante giapponese Kyo-Shun se realizó una atracción en el exhibidor de vinos desde el
Hongkong liegt The One, einer kulinarischen ‘drei-in-ei- sowie die animierten Feature-Wände mit Wassereffekten. dispone di una grande quantità di pareti ruvide, che dis- piso al techo. Al utilizar la tecnología de lámparas 10W
nem’-Erfahrung. Firefly Lighting Design wurde beauftragt, Ebenso wurden diese subtilen Lichtreihen um die Bar perdono la luce creando un effetto incredibile. Il design LED AR111 de Megaman para iluminar la obra de arte,
das gesamte Projekt der 18. Etage zu bearbeiten und herum und in der offenen Küche platziert. per l’area di tapas, Tapagria, prevede materiali ricchi e Firefly también optó por utilizar 8W MR16 28° de Megaman
Megaman-Beleuchtungskörper wurden pauschal verwen- il sistema di illuminazione crea contrasto accentuando y lámparas reflectores LED angostas de 36° para resaltar
det. Im Zurriola, dem spanischen Themenbereich im The
One, wurde aus der Weinauslage, die vom Boden bis zur
ITALIANO caratteristiche quali la cabina del DJ, che è immersa in un
alone di luce ed è caratterizzata dalla parete dall’effetto
las etiquetas de las botellas en los estantes de los vinos.
Kyo-Shun, el restaurante japonés, ofrece una gran canti-
Decke reicht, ein besonderes Merkmal gemacht. Firefly ver- Posto al 18 ° piano del complesso commerciale più alto acqua animata. Queste sottili linee di luce sono state an- dad de efectos en las paredes, que dispersan la luz a lo
wendete die 10W LED AR111 Lampentechnologie von Me- di Hong Kong, The One è un’ esperienza culinaria “tre in che collocate intorno al bar e alla cucina a vista. largo de las superficies de la pared para lograr un golpe
gaman für die Beleuchtung des Kunstwerks und entschied uno”. Alla Firefly Lighting Design è stato commissionato de efecto. El diseño para la zona de las tapas, Tapagria,
sich ebenfalls für 8W MR16 28° und 36° eng gebündelte l’intero progetto del 18 ° piano, utilizzando gli allestimenti ESPAÑOL utiliza materiales ricos y el proyecto de iluminación ofrece
LED-Reflektorlampen von Megaman für die Betonung der della Megaman . Nel Zurriola, l’esperienza culinaria a tema un contraste acentuando características como la cabina
Flaschenetiketten in den Weinregalen. Kyo-Shun, das japa- spagnola, è stato modificato il pavimento per permettere Ubicado en el piso 18 del complejo de tiendas minoris- del DJ que está bañada en un halo de luz y animada con
nische Restaurant, verfügt über zahlreiche Streiflichter, di mostrare il vino dal soffitto. Utilizzando la tecnologia tas más alto de Hong Kong, The One, es una experiencia paredes con efecto de agua. Estas sutiles líneas de luz
die das Licht über die Wandfläche für dramatische Effekte della lampada a LED 10W AR111 di Megaman per illumin- gastronómica única. A Firefly Lighting Design se le en- han sido ubicadas alrededor del bar y de la cocina abierta.
 WALL OF DEDICATION

It’s all about you.

It’s all about
passionate people

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AD_mondoarc.indd 1 01/10/14 17.02

094 PROJECT / WGV CASINO AND GUARDHOUSE, STUTTGART, GERMANY

THE SONG
OF LUNCH
The WGV Casino and Guardhouse is a gift from
employee to employer, a social space and canteen for
the use of the insurance firm’s staff. Pfarre Lighting
Design developed a lighting scheme which embraced
the differing styles of the buildings concerned.
 095

All firms claim to have a high regard for

their staff, but German insurance company
WGV have put their money where their
mouth is. The organisation has created a
‘gathering area’, a relaxed space at their
headquarters in Stuttgart, to be used by
their employees as both a self-service
cafeteria and a space for special events.
The set up of the structure posed a number
of challenges for lighting consultants Pfarré
Lighting Design. The topography of the site
is particularly interesting and features three
terraced levels in the casino section of the
structure and the garden. Further to this,
the newer area of the site is adjacent to
the ‘Old Guardhouse’, a protected historic
building.
The casino section of the site, which holds
the self-service cafeteria, features a three-
tiered ceiling, the heights varying from
096 PROJECT / WGV CASINO AND GUARDHOUSE, STUTTGART, GERMANY

At one side of the cafeteria in the casino area of the project an eyecatching and colourful artwork has been created on the sides of the three ceiling slabs with long
skylights in between, enhancing the architectural concept, while helping to create an informal atmosphere for a relaxing lunch.

12 feet to 13.5 feet. Skylights have been seen, the octahedral form of the custom- slab, panels of artwork in shades of red,
installed in between each new step of the designed dimmable fluorescent pendant magenta, and purple wash reflected colour
ceiling, running the length of the entire luminaires in three different sizes are into the space adding another set of hues
3,767-square-foot cafeteria area. celebrated. into the mix.
Pfarré Lighting Design carefully considered The unusual makeup of the multi-tiered An LED strip has been installed on the
the differing architectural style of the casino roof in the main seating area meant opposite side of the skylight in order
buildings and the changing detail of both that this part of the project had to be to increase this feature’s effect in the
structures and, in close consultation with approached with verve. To light this part evenings.
the architects, began to develop a lighting of the project a custom 10W 3000K LED- Apart from the effect of the direct lighting,
design. baffle ceiling system was developed in close the reflection of this illuminated artwork
The agency decided not to push any one co-operation with architects and acoustic creates a very pleasant and smooth gradient
particular lighting element to the fore, with planners, ensuring a smooth, indirect, of colour on the architectural surfaces,
the one exception of a group of impressive ambient lighting solution was developed, creating a treat of colour that changes
looking octahedron shaped pendants, despite the difference in ceiling heights and alters depending on the position of
designed especially by Lichtlauf Munich, for across the room. In between the baffles, the viewer. These were executed with
the events space in the Old Guardhouse. In LED spotlights in square housings provide dimmable fluorescents, in three different
this older section of the site, unlike in the direct lighting onto the tables. dimensions.
main seating area where luminaires are not Along the fascia of the centre ceiling Next to the cafeteria and open seating area

庭に部屋側の高さの違う天井が重なり、 あた
JAPANESE かもつながっているような視覚効果を演出し
颖，以致工程的这部分极具气魄。为了
照亮这部分，设计者开发了定制的 10W
sionnants de forme octaèdre, spécialement conçu par
Lichtlauf Munich et utilisé dans l’ancien « Vieux Poste
今回照明を担当したPfarré Lighting Design ている。 このエリアを分割するコンクリート製 3000K LED--挡板天花板系统。在挡板之 de Garde » de l’immeuble. La composition inhabituelle
にとって、 この構造様式は無理難題とも言え の平板と植栽を線状アップライトが照らし出 间，LED 聚焦灯透过方形壳体直射到桌 du toit à plusieurs niveaux du salon principal du casino
るものだった。 Lichtlauf Munichが特別にデ し、Old Guardhouseのファサードには柔らか 面。天花板的每一层新梯级之间都安装了 explique que cette partie du projet a dû être abordée
ザインした、 同じ建物のより古いOld Guard- なウォールウォッシャ照明が取り付けられた。 天窗。花园露台在视觉上延伸了室内。利 avec brio. Un système de plafond avec chicanes fait
houseの部分に使用されている複数の独創的 用线性向上照明放大该区域，映衬出混凝 sur mesure et utilisant des D.E.L. de 10 W 3000K fut
な8面体シャンデリア以外に照明器具は指定 CHINESE 土板和植被，而老警卫室的门面则采用了 développé afin d’illuminer cette zone du projet. Entre
されておらず、建物の中でも座席区域はユニ 柔和的洗墙灯光 les chicanes, des projecteurs encastrés à diodes élec-
ークな多層構造の天井となっているため、取 贾特拉帕蒂·希瓦吉国际机场是印度第二 troluminescentes prodiguent un éclairage direct sur
り組みには多大なエネルギーを要した。 この 该结构的构造给照明顾问 Pfarré Light- FRANÇAIS les tables. Des puits de lumière ont été installés entre
部分の照明には、 10ワット相関色温度3000K ing Design 提出了一系列挑战。该机构决 chaque nouvelle partie du plafond. Les jardins en ter-
のLEDバッフル式天井システムが特別に考案 定不突出任何一个特定的照明元素，除了 La mise en place de la structure a posé un certain rasses servent d’extension visuelle au casino intérieur.
された。 バッフルとバッフルの間に作られた正 一组富丽堂皇的八面体状吊坠，它主要 nombre de défis aux conseillers en éclairage de Pfar- Des projecteurs linéaires divisant les dalles en béton et
方形の枠に埋め込まれたLEDスポットライト 由 Lichtlauf Munich 设计，用于该建筑中 ré Lighting Design. L’agence a décidé de ne mettre la végétation mettent en valeur le lieu, tandis qu’une
がテーブルを直接照らす。天井の新しい段の 更具年代性的老卫兵室。在该建筑的主 en avant aucun élément d’éclairage en particulier, à douce lumière lèche les murs de la façade du Vieux
間にそれぞれ天窓が配置された。 ひな段式の 要座位区，上方的屋顶层次多样、构造新 la seule exception d’un groupe de pendentifs impres- Poste de Garde.
 ANOLIS - inzerce_3 produkty_(format_236 x 333_mm).pdf 23.9.2014 15:17:36

CM

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CMY

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098 PROJECT / WGV CASINO AND GUARDHOUSE, STUTTGART, GERMANY

Above left LED-baffles have been developed to provide smooth indirect ambient lighting for the casino. In addition, custom made LED-spotlights provide direct
light for the tables. Below left In the Guardhouse, custom-made pendant luminaires float in a random fashion through the event space. Right The separate entrance
to the old guardhouse, the oldest part of the building, offering access to the public for special occasions.

is the Old Guardhouse. A series of stylish the architects and acousticians to provide LIGHTING SPECIFIED
garden terraces and ramped walkways an overall lighting scheme that provides a
connecting old and new while inground discernible light quality, without, for the Outdoor, inground uplight: WEEF – ETC130-GB [M]
Outdoor, surface mounted adjustable spotlight: BEGA
uplights illuminate the trees. most part, drawing the eye to the fixtures. Outdoor, inground wallwasher: WEEF – ETC130 [A]
The terraced gardens act as a visual Yet when fixtures have been installed to Outdoor, linear inground LED-luminaire: custom made by
Lichtlauf, Munich
extension of the interior casino. This do just that, in the Old Guardhouse, the
Outdoor, surface mounted wall luminaire: BEGA
architectural composition is enhanced by fixtures used are creative and beautiful to Outdoor, wall recessed floor washlight: ERCO – Visor III
linear uplighting for the dividing concrete look at. Pendants, Old Guardhouse: custom made by Lichtlauf, Munich
Ceiling recessed luminaire, double light: FLOS – Compass
slabs and vegetation, this is provided by Seemingly simple, but certainly not, Box Recessed
WEEF in-ground uplights as well as custom this skillful lighting design unites three Wallwasher, ceiling reccesed: ERCO – Quintessence
made linear inground LED luminaires distinctive, but connected, spaces, while Accoustically effective lamellar element incl. LED-uplight and
LED-spotlight, Casino: custom-made by Lichtlauf, Munich
by Lichtlauf. A soft wallwash was also celebrating the very essence of light itself. Linear LED-luminaire, illumination of artwork, Casino: KORONA
developed for the Old Guardshouse‘s www.lichtplanung.com Wall luminaire, surface mounted, double light: FLOS –
Compass Box
facade, using WEEF inground wallwashers,
Gimbal mounted spotlight, ceiling recessed: ERCO – Gimbal
surface mounted wall luminaires from Linear lighting system, recessed: XAL – Minimal 60
BEGA and wall recessed floor washlights Deep recessed LED spotlight, conference room: ACDC – Azeta
PROJECT DETAILS
Round Adjustable
from ERCO. Balanced lighting levels, both Linear LED luminaire, ceiling recessed, conference room: Selux
horizontal and vertical, support this spatial WGV Casino and Guardhouse – M60 Linear Modul
Client: Württembergische Gemeinde-Versicherung a.G Pendants, entrances: custom-made by Lichtlauf, Munich
approach and create an enjoyable outdoor Architect: Hascher Jehle Architektur, Berlin Downlights, ceiling recessed: ERCO – Quintessence
atmosphere. Lighting Design: Pfarré Lighting Design Tubular ceiling mounted luminaire – Artemide Ourea
The lighting designers worked closely with

wurden zwischen jeder neuen Dachstufe installiert. Die del salotto principale, ha fatto sì che questa parte del elemento de iluminación en particular, con la excepción
DEUTSCH terrassenförmigen Gärten agieren als visuelle Erweiter- progetto fosse affrontata con verve. Per illuminarla è de un grupo de impactantes colgantes con forma de oc-
ung des Innenbereichs des Casinos. Dieser Bereich wird stato sviluppato un sistema a soffitto personalizzato di taedro, diseñados especialmente por Lichtlauf Munich
Der Aufbau der Struktur war eine große Herausforderung durch linienförmige Deckenfluter betont, um Betonplat- riflettori a LED da 10W 3000K. Tra i riflettori, i faretti a utilizados en el viejo sector de Old Guardhouse del ed-
für die Lichtplaner Pfarré Lighting Design. Die Agentur ten und die Vegetation voneinander zu trennen, während LED, posti in alloggiamenti quadrati, forniscono l’ illumi- ificio. La inusual construcción del techo del casino con
beschloss, kein spezifisches Beleuchtungselement mit eine sanfte Wandanstrahlung für die Fassade des alten nazione diretta sui tavoli. I lucernari sono stati installati varios niveles en la zona principal de los asientos sig-
Ausnahme einer Gruppe von beeindruckend aussehenden Wachhauses entwickelt wurde. tra ogni nuovo strato del soffitto ed i giardini terrazzati nificó que esta parte del proyecto tuviera que ser enfren-
oktaederförmigen Hängeleuchten, die speziell von Licht- fungono da estensione visiva del casinò interno. Questa tada con ímpetu. Para iluminar esta parte del proyecto se
lauf München entworfen worden sind und die im älteren ITALIANO zona è arricchita da faretti lineari che diffondono la luce desarrolló a medida un sistema 10W 3000K LED-baffle
Wachhausbereich des Gebäudes verwendet werden, in dal basso per creare una divisione tra il cemento e la en el cielorraso. En medio de estos, los focos de LED en
den Vordergrund zu stellen. Der ungewöhnliche Aufbau Il set up della struttura ha posto una serie di sfide per vegetazione, mentre un wallwasher soffuso è stato elab- cajas cuadradas ofrecen iluminación directa sobre las
des mehrstufigen Casinodachs in der Haupt-Sitzecke i consulenti di illuminazione Pfarré Lighting Design. orato per la facciata dell’ Old Guardhouse. mesas. Se instalaron tragaluces entre medio de cada
bedeutete, dass dieser Teil des Projekts voller Elan zu L’agenzia ha deciso di non esaltare nessun elemento in nuevo escalón del cielorraso. Los jardines aterrazados
bearbeiten war. Für die Beleuchtung dieses Teils des particolare dell’ illuminazione, con la sola eccezione di un ESPAÑOL actúan como una extensión visual del interior del casino.
Projekts wurde ein kundenspezifisches 10W 3000K gruppo di imponenti ciondoli a forma di ottaedro (proget- Esta zona es resaltada por iluminación lineal orientada
LED-Schallwand-Deckensystem konzipiert. Zwischen den tati appositamente da Lichtlauf Munich e utilizzati nella La puesta de la estructura planteó una cantidad de hacia arriba para las losas de concreto divisorias y la
Schallwänden verschaffen LED-Strahler in eckigen Ge- vecchia parte dell’edificio Old Guardhouse). L’insolita desafíos para los consultores en iluminación Pfarré vegetación mientras que se desarrolló un reflector suave
häusen direkte Beleuchtung auf die Tische. Oberlichter composizione del tetto multistrato del casinò, nella zona Lighting Design. La agencia decidió no impulsar ningún para la fachada de Old Guardhouse.
 43 consistent, repeatable colours created Frosted Dichroic Filters combine colour
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100 PROJECT / THE COMMONWEALTH PARK, GIBRALTAR

MODERN ROCK
David Atkinson Lighting Design has delivered a contemporary scheme for the new Commonwealth
Park on Gibraltar, blending traditional British values with mediterranean style.
 101

Pic: David Parody

102 PROJECT / THE COMMONWEALTH PARK, GIBRALTAR

The Commonwealth Park in Gibraltar is a

former car park site that has been trans-
formed into a sustainable park, boasting
both traditional British values and a ‘cutting
edge’ Mediterranean style. The park has
135 different trees, as well as lakes, grass
mounds and decking areas, with the dra-
matic historic backdrop of the King’s Bastion
and City walls.
David Atkinson Lighting Design (DALD)
worked closely alongside the landscape
architects, Landform, to create an exciting
but subtle lighting scheme for the park, as
well as adhering to conservation require-
ments, security, energy efficiency and
sustainability.
The historic perimeter walls consist of the
curved King’s Bastion Wall and City Wall.
The curved King’s Bastion Wall to the north
end of the site is up lit by a series of buried
fixtures fitted with a tiltable medium and
narrow beam optic, which helps to accen-
tuate the contours of the stone and form.
A 4000K LED light source was chosen to
enhance the colour of the grey stone.
The angular City Wall linking with the
curved King’s Bastion wall to the north, east
and south elevations are lit by a series of
surface mounted, high output, narrow optic
spots, which graze the wall with shafts of
light. The LED spots are positioned directly
below the city wall and aligned with the
wall piers.
The upper terrace above the City Wall is
linked to the park via a listed link tunnel,
contemporary staircase and lift. To limit
any visual impact within the tunnel two
internally illuminated handrails provide
sufficient light to the floor. The illuminated
handrails continue from the tunnel to the
external staircase that encompasses the lift Pic: David Parody

shaft.
To help give the lift shaft a dynamic appear-
ance, a series of RGBW LED sources up light
the internal glass shaft with preprogrammed
hues of colour.
The park has a perimeter roadway/walkway,
which is illuminated by compact LED fix-
tures fitted with 3000K sources, which are
mounted off 3.5m vertical columns. Some

The new Commonwealth Park is bound by tall,

historic walls. These are grazed by surface
mounted, iGuzzini Large body iPro fixtures along
the main City wall, and inground fixtures along the
curved Bastion wall (pictured top right).

Inside the park space, key elements like the

contemporary bandstand and ‘monolithic column’
water feature are given special lighting solutions.
DALD chose a limited number of sources in picking
out key areas within the park, with the planting
Pic: Moses Anahory
subtly modelled by single point sources.
 103

Pic: Moses Anahory Pic: Moses Anahory

Pic: Moses Anahory

Pic: Moses Anahory Pic: Moses Anahory

104 PROJECT / THE COMMONWEALTH PARK, GIBRALTAR

of the vertical columns increase in height to

5.5m in order to accommodate high output
LED accent fixtures that illuminate sculptur-
al pieces. A link walkway from the west side BAND STAND
Four Teclumen RGBA Fusion
of the park is illuminated by semi recessed positioned off angled supports -
marker lights, which helps to set up an units require data (DMX) cabling
and power.
interesting view into the park.
As a part of the intrinsic landscape design
internal tertiary paths weave through the
park. Illumination of the tertiary paths
are by minimalistic tubular bollards fitted
with T5 lamps, with a colour temperature
of 4000K. Each bollard is offset along the
length of the path which helps define the
flowing landscape design.
To the north and south of the park there
are decking areas that incorporate adjust-
able recessed LED fixtures. The fixtures up
light Magnolia grandiflora shrubs from one STAIRS
side and are fitted with warm white LED Metamount internally illuminated
(3000K), which help to offset the shrubs handrail

against the city wall. LIFT

Throughout the park, seating benches are Teclumen RGBA Fusion position
within lift shaft - units require
under lit by recessed LED strips, which pro-
data (DMX) cabling + power. Four
ject a soft diffused glow under the benches. mounted at bottom of shaft
The central area within the park consists of
perimeter planting, benches and monolithic
water feature columns. Each monolithic
column is fitted with a recessed custom
IP68 LED ring that accentuate the water
flow by piping the water through the centre
of each fixture. In addition to the integral
lighting, recessed IP68 fixtures up light each
monolithic column. Positioned within the
catchment pool, they reflect and refract
MONOLITHIC COLUMNS
light across the column faces. MJL LED Ring set within the
An artificial lake is subtly illuminated by varying height monolithic
columns. Custom IP68 fixtures
submerged IP68 fixtures, which pick out
will accentuate the water flow
rock and water features. A link bridge across by piping the water through the
the lake is lit by miniature recessed decking centre of the fixture.

lights, which help to accentuate the form of Ares buried Tapioca LED 10º set
the bridge. into soak away base. Fixtures
require remote IP rated drivers.
A contemporary bandstand is built out
into the lake and features a tensile roof,
which is up lit by RGBW LED sources and

のあるしたCity Wallを照らすのは、表面に装
JAPANESE 着された一連のハイパワー薄型光学LEDス
堡垒墙和城墙。国王堡垒墙一直延伸到公
园的最北端，由一系列埋灯具点亮，埋灯
tectes-paysagistes de Landform afin de créer un
ensemble d’éclairage passionnant, mais subtil pour
ジブラルタルのCommonwealth Parkは以 ポットライトの光線によるグレージング照明。 具则设有可倾斜媒介和窄束光，进一步 le parc, s’adaptant aussi aux exigences de conser-
前、駐車場として使われていたが、 イギリスの 広大な芝生には斑模様の光が投影され、 あ 映衬出石头的轮廓。4000K LED 光源则 vation, de sécurité, d’efficacité énergétique et de
伝統的価値観と現代地中海のスタイルを融 たかも林の間を通る月光が映し出されている 被用来增强颜色亮度。至于菱角分明的城 durabilité.
合した地球にやさしい公園へと生まれ変わ よう。モダンな野外ステージの屋根には伸張 墙，它是由一系列装在表面的高输出、窄 Le Bastion du roi et les murailles de la ville marquent
った。 性があり、照明には4色LEDライトが使用さ 视 LED 光点照亮，其光柱掠过墙面，甚 le périmètre historique. Le Bastion du roi à l’extrémité
David Atkinson Lighting Designが造園 れている。 是好看。 nord du site est éclairé vers le haut par une série
デザインを手掛けるLandformと力をあわせ、 草地则被大面积投射光照亮，如月光透过 d’appareils enterrés et équipés de faisceaux optiques
この公園のために作り上げたのは、刺激的で CHINESE 树木般，光影斑驳。RGBW LED 光源照 moyens et étroits inclinables, qui accentuent les con-
かつ繊細でありながら、環境規制と安全基準 亮了一个具有可拉伸屋顶的当代舞台。 tours de la pierre. Le choix d’une source de lumière
を満たした、 エネルギー効率の高い持続可能 位于直布罗陀的联邦公园，其前身是个停 D.E.L. de 4 000 K renforce sa couleur. La muraille
な照明プラン。
史跡である外壁は曲線状のKing’s Bastion
车场，现已演变成了一个可持续发展的公 FRANÇAIS angulaire de la ville est éclairée par une série de pro-
园，融合了传统的英国价值观念和当代地 jecteurs à diodes luminescentes à optique étroite de
Wall と City Wallから。公園北端に延びる 中海风格。David Atkinson Lighting Design Au stade du Commonwealth de Gibraltar, un ancien haut rendement, montés en surface et qui effleurent
King’s Bastion Wallは角度調整可能な中 与景观建筑公司 Landform 紧密合作，为 parking fut transformé en un parc durable, alliant le mur de puits de lumière.
サイズのナロー配光のビーム光線を装着し、 公园设计了一个激动人心且十分精细的照 les valeurs traditionnelles britanniques et un style De grandes étendues d’herbe sont éclairées d’une lu-
地面に埋め込まれた一連の照明によって照ら 明方案，坚持追求节能需求、安全性、能 méditerranéen contemporain. mière tachetée, imitant l’effet de la lune à travers les
し出される。壁の色を強調するために選ばれ 源效率和可持续发展。 L’équipe de David Atkinson Lighting Design a arbres. Le toit tendu du kiosque à musique moderne
たのは相関色温度4000度のLED光源。起伏 历史悠久的围墙包含两部分：弯曲的国王 travaillé en étroite collaboration avec les archi- est éclairé de diodes électroluminescentes RVBB.
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106 PROJECT / THE COMMONWEALTH PARK, GIBRALTAR

PROJECT DETAILS

The Commonwealth Park, Gibraltar

Client: Government of Gibraltar
Landscape Architect :Landform
Lighting Design: David Atkinson Lighting Design (DALD) - David
Atkinson, Pedro Pinto.

LIGHTING SPECIFIED

iGuzzini:
9 x Light Up Walk with double adjustment / flood optic 28° /
warm white
29 x Light Up Walk with double adjustment / flood optic 28° +
narrow optic 10° / cool white
2 x Light Up Walk with double adjustment / narrow optic 10°
Pic: Moses Anahory / cool white
35 x iTeka 24W warm white, complete with special bracket to
fix to 3.5m & 5.5m column
45 x iPro large body narrow optic 15° 27w / cool white
2 x iPro large body narrow optic 15° 27w / warm white
13 x iPro medium body medium optic 28° 18w / warm white
16 x Light Up Balisage 20w hit
95 x Pencil - cylindrical bollard with electronic control gear for
single emission

Aldabra supplied by Lighting Assist:

43 x Aldabra T4 inground recessed strip 203CM

Ares supplied by LIGHTWORKS:

22 x Tapioca buried LED 10°
Pic: Moses Anahory 16 x Maxi Martina IP68 underwater fixture 9 X 1W - 35°
xxxx
21 x Idra 9 X 1W - 35°
Large expanses of grass are lit by projecting dappled light, which effectively mimics the effect of moonlight
through trees. The dappled effect is created by a series of metal halide projectors attached to the top of Concept Light supplied by Lighting Assist:
the perimeter lighting columns. 9 x CL Gobo Projector 150W

HUNZA supplied by Light Ideas:

programmed in with the lift shaft to reflect spike mounted projector fittings positioned 158 x Anti-tamper Hunza adjustable spike + GU10 LED 7W 3K
28 x P1 Path Lite LED
dynamic hues of colour across the band- within the planting. A warm 3000K colour
stand and lake. temperature was chosen to enhance the Metamont supplied by Lighting Assist:
5 x LED illuminated handrail
Large expanses of grass are lit by projecting greenery and off set the planting and trees
dappled light, which effectively mimics from the coolness of the King’s Bastion and MJ Lighting:
the effect of moonlight through the trees. City Wall. 13 x custom recessed 1P68 160MM ring set into monolithic
column
The dappled effect is created by a series of Control of the lighting within the park
metal halide projectors attached to the top is triggered via photocells that in turn TECLUMEN supplied by Lighting Assist:
8 x Teclumen Fusion Color 6 FC RGBW
of the perimeter lighting columns. activate lighting scenes from the control
The general lighting to planting, shrubs and system. A basic lighting state with limited PHAROS supplied by Lighting Assist:
trees was achieved by a variety of lighting sources is activated at midnight for access 1 x LPC control system

methods. DALD chose a limited number of and security. Osram Lamps :

sources in picking out key areas within the Through the combination of creative light- 95 x T5 14w 840
park, with the planting subtly modelled by ing methods it enables the park to become
Philips Lamps
single point sources. Large trees and shrubs an exciting, dynamic and safe space after 9 x150w CDM-T 3000K
were either up lit by buried LED sources dusk. 16 x 20w CDM-TM 3000K
or externally lit from a distance by ground www.dald.co.uk

ausgewählt. Die winkelförmige Stadtmauer wird durch I muri storici perimetrali sono costituiti dei curvi King’s Británicos con un estilo Mediterráneo contemporáneo.
DEUTSCH eine Reihe von obenflächenmontierten, leistungsstarken Bastion Wall e City Wall. Il King’s Bastion Wall, situato David Atkinson Lighting Design trabajó de cerca junto
engen Optik-LED-Spots beleuchtet, die die Wand mit a nord nella parte finale della città, è illuminato da una con los arquitectos paisajistas, Landform, para crear un
Für den Commonwealth Park in Gibraltar wurde das ehe- Lichtbündeln touchieren. serie di apparecchi interrati dotati di un supporto inclin- espectacular pero sutil proyecto de iluminación para el
malige Gelände eines Parkplatzes in einen nachhaltigen Große Rasenflächen werden mit einem projektierten, abile e a stretto fascio ottico, che aiuta ad accentuare parque, a la vez que se ajustaban a los requisitos para
Park verwandelt, der traditionelle britische Werte mit ei- sanften Lichtmuster beleuchtet, das den Effekt von i contorni della pietra. Una sorgente di luce a LED da la conservación, seguridad, eficiencia energética y la
nem zeitgenössischen mediterranen Stil vereint. Mondlicht durch Bäume nachahmt. Ein moderner Kon- 4000K è stata scelta per esaltarne il colore. L’angolare sustentabilidad.
David Atkinson Lighting Design arbeitete eng mit den zertpavillon mit einem Spanndach wird durch RGBW City Wall è illuminato da una serie di faretti a LED a Las históricas paredes perimetrales son las del Bastión
Landschaftsarchitekten von Landform zusammen und LED-Quellen beleuchtet. fascio di luce stretto che montati in cima, scalfiscono il del Rey y el Muro de la Ciudad. El Bastión del Rey, hacia
hat ein sowohl interessantes wie auch subtiles Beleuch- muro con raggi di luce. el norte del sitio, está iluminado en la parte superior por
tungskonzept für den Park entwickelt, das Anforderungen
in Bezug auf Bestandserhaltung, Sicherheit, Energieeffi-
ITALIANO Delle grandi distese di erba sono illuminate con luce
proiettata in modo variegato, simulando l’effetto del
una serie de artefactos empotrados, equipados con un
rayo óptico ajustable, mediano y angosto. Para resaltar
zienz und Nachhaltigkeit entspricht. Per il Parco del Commonwealth a Gibilterra, un ex par- chiaro di luna attraverso gli alberi; invece un palco con- su color se eligió una fuente de luz LED de 4000K. El an-
Die historischen Außenmauern bestehen aus der bogen- cheggio è stato trasformato in un parco sostenibile, temporaneo con tetto di trazione è illuminato da sorgenti gular Muro de la Ciudad está iluminado por una serie de
förmigen King’s Bastion Wall und der Stadtmauer. Die coniugando i valori tradizionali inglesi con uno stile LED RGBW. spots de LED de alta potencia de salida montados sobre
King’s Bastion Wall zum nördlichen Ende des Geländes mediterraneo contemporaneo. la superficie, los cuales dibujan el muro con rayos de luz.
wird durch eine Reihe von vergrabenen Beleuchtung- David Atkinson Lighting Design ha lavorato a stretto con- ESPAÑOL Las grandes extensiones de césped son iluminadas con
skörpern beleuchtet, die mit einem kippbaren Träger und tatto con i paesaggisti (Landform) per creare un sistema luz proyectada moteada, imitando el efecto de la luz de
einer enggebündelten Optik befestigt sind, wodurch die di illuminazione entusiasmante ma sottile per il parco, El Commonwealth Park en Gibraltar, que solía ser una luna a través de los árboles. Una glorieta contemporánea
Konturen des Steins besser betont werden können. Eine così come per aderire alle esigenze di conservazione, si- playa de estacionamiento, ha sido transformado en un con techo extensible se encuentra iluminada con fuentes
4000K LED-Lichtquelle wurde zur Verstärkung der Farbe curezza, efficienza energetica e sostenibilità. parque sustentable, mezclando los valores tradicionales RGBW LED.
Sofitel Hotel, Dubai 51 East at Lagoona Mall, Doha Four Points by Sheraton Hotel, Beirut
108 PROJECT / FINCH AVENUE OPTOMETRY, TORONTO, CANADA

LIGHTING SPECS
Bringing their sharp vision to the creation of an optomotrist in North
Toronto, Bortolotto have woven together sculptural architecture with
layered lighting to produce an eye-catching, modern scheme.

All pics: Tom Arban

109
110 PROJECT / FINCH AVENUE OPTOMETRY, TORONTO, CANADA

When Finch Avenue Optometry first

approached architectural practice Bor-
tolotto in 2012 their brief was clear: to
design a new premises that would express
the practices commitment to both high
quality eye care and contemporary style.
In response, the Toronto-based architects
created a visually stunning interior, modern
and clinically sharp while at the same time
fulfilling the functional requirements of a
busy optometrists.
Bortolotto’s concept plays on themes of
contrast, perception, light and the rounded
shape of the eye. The newly built premises
at 244 Finch Avenue West is a black-brick
structure with a rolling art deco curve to
its façade, a shape and style that is echoed
and inverted within. The interior is a lu-
minous white, accented by sparkling black
details. The heart of the venue is a 2,260
square foot, double-height retail showroom
and waiting area that sits directly behind
the building’s curved corner. Its upper story
is cut with a band of windows that draw
daylight into this showroom space.
Entering the showroom, clients are imme-
diately drawn to a prominent ocular ceiling
feature. Inspired by the mechanics of the
eye and depth of field perception, eight
concentric rings cascade downwards, each
defined by concealed white Senso Lighting
LED strips. At its lowest point, the chan-
delier culminates in a mirrored centre,
representing the pupil of an eye, while its
uppermost ring has been given a blue hue
by Senso RGB strips. The cool blue empha-
sises the sculptural form of the lower rings,
which give the space an organic presence,
while also illuminating the interior. The
ceiling is also visible through the tall

Top In lieu of artwork, a sculptural ceiling element

offers visual interest and the glamour of a
chandelier. Inspired by the mechanics of the eye
and depth of field, it comprises eight concentric
rings that cascade downwards, each defined by
recessed white RGB LED lights, culminating in a
mirrored center like the pupil of an eye.

雰囲気を与え店内を照らす。天井は店舗ファ
JAPANESE サードの背高窓を通して外からも見えるため、
Lighting LED 灯带映衬。在最低点，枝形吊
灯的顶端是一个镜像的中心，代表眼睛的
be, moderne et cliniquement haut de gamme, tout en
répondant aux exigences fonctionnelles d’un opticien
Finch Avenue Optometryが2012年に初 道行く人をの注目を集め、店舗の高級感を高 瞳孔；相对最高的那个环用的是蓝色 Senso très actif.
めてBortolottoと対峙したとき、 すでにFinch める効果がある。 RGB 灯带。在清澈的蓝色灯带的衬托下， En entrant dans le magasin, le regard des clients est im-
Avenue Optometryがその信念として高品質 下面几个环的轮廓显得更加突出，这让整 médiatement attiré vers une remarquable animation vi-
なアイケアとモダンなスタイルを両立するデザ CHINESE 个空间看起来非常自然形象，同时能照亮 suelle au plafond. S’inspirant du fonctionnement de l’œil
インを求めていることは明らかだった。 その思 整个室内。透过建筑物正面的高窗，整个 et de la profondeur de perception du champ visuel, huit
いにこたえ、 トロントを拠点とする建築家たち 芬治大道验光中心在 2012 年首次接触到 天花板依旧清晰可见，吸引了行人的视 anneaux concentriques se fondent en cascade, chacun
が作り上げたのは、現代的で臨床的にも高性 Bortolotto 建筑实践，那时他们的定位就 线，也提升了实践的高端性。 défini par de discrètes bandes de diodes électrolumi-
能、 かつ多忙な検眼医の要求を満たす機能性 是：要设计出一个新的经营场所，力求体 nescentes blanches Senso Lighting. À son point le plus
を併せ持つ、 見事な内装である。
ショールームに足を踏みいれたとたん、 顧客は
现他们对高质量眼部护理和现代化风格的 FRANÇAIS bas, le lustre présente un centre en miroir, représentant
追求。为了满足这个要求，多伦多的建筑 la pupille de l’œil, tandis que l’anneau le plus élevé s’il-
天井埋め込まれた一際目立つ接眼レンズに目 师打造了一个极具视觉冲击力，且非常符 Lorsque les dirigeants de Finch Avenue Optometry ap- lumine d’une bande à teinte bleue Senso RVB. Le bleu
を奪われる。眼球の仕組みと視界の奥行の概 合临床科学规律的现代化室内设计，同时 prochèrent le Cabinet d’architectes Bortolotto en 2012, froid accentue la forme sculpturale des anneaux in-
念を具現化したデザインで、 中心に向かい下 又能满足忙碌的验光师的功能性需求。 leur cahier des charges était clair : concevoir un nouveau férieurs, qui donnent à l’espace une présence organique,
に向かって流れ落ちる8つのリングそれぞれが 走进展示厅，客户立刻被亮眼的眼睛式天 magasin qui exprimerait l’engagement de la profession tout en éclairant l’intérieur. Le plafond est également
Senso Lightingの白いLEDテープライトの間 花板所吸引住。设计师的灵感来源于眼部 à offrir des soins oculaires de grande qualité dans un visible à travers les hautes fenêtres de la façade, atti-
接照明で縁取られている。下部リングの彫刻 结构和视野深度，将八个同心环向下串联 cadre contemporain. Dans cette optique, les architectes rant ainsi le regard des passants et renforçant l’identité
を強調する涼やかな青色は、 空間に有機的な 起来，每个同心环都用隐蔽的白色 Senso de Toronto ont créé un intérieur visuellement super- haut de gamme du magasin.
 Advert_Type1_ill_MondoHALF.pdf 7 12/05/2014 13:32

E E S CHEME TH
W E AT
E S

TH

ET
S–
IN
– JO

–
TRY
–T

S
DU
ST N

HE
AN G I
DAR TI N
D FOR THE LIGH

Recolight members have recycled over 30,000

tonnes of lamps and luminaires since 2007, more
than all other UK schemes combined.
Not for profit - maximising funds
available to provide free recycling.
Accredited by the Environment
Agency for B2B and B2C.
UK wide network of over 3200 collection points
giving our members and their customers access to
FREE recycling.
The scheme that provides compliance for, and
recycles all lighting in scope of WEEE regulations.
We have a dedicated customer service team
managing over 700 waste lamp and
luminaire collections per month.
Set up by the lighting industry, and working
for the lighting industry.
Average annual membership growth of 16% from
2009 to 2014, proof that we’re the lighting
industry’s scheme of choice.

ME A MEMB
CO ER
BE
–

Ask@recolight.co.uk | 0845 601 7749

D
STAN
G33

OV
-20 NNDON
19 EL, LO
EXC
112 PROJECT / FINCH AVENUE OPTOMETRY, TORONTO, CANADA

Above left The curved corner window reveals the ocular-inspired lighting feature, drawning the attention of passers-by. Above right Strips of Senso flexible LED
strip lighting gives the display shelves a unified, uncluttered look, allowing the diffent eyewear ranges to stand out.

windows of the façade, creating a visual Minigrid trimless downlights.

PROJECT DETAILS
draw for passers-by and strengthening the The adjacent sunglasses display comprises
practice’s high-end identity. rows of glass shelving backlit by I2 Systems Finch Avenue Optomotry, Toronto, Canada
Client: Finch Avenue Optomotry
Tania Bortolotto, Principal at Bortolotto, LED wallgrazers to produce a brighter area,
Architect / Lighting Design: Bortolotto
explains that this centrepiece is essential suitable for trying out the sunglasses on
to the success of the space. “The lighting offer.
at the interior feature element is directly The new premis opened its doors in summer LIGHTING SPECIFIED
integrated into the architecture as a sort 2014 and has proved a success for both Main Showroom:
of inverted light house drawing interest clients and staff. “Patients come in and Senso Lighting Dimmable whiteLED strip - ceiling feature
and impact to the retail space,” she says. are pleasantly surprised at the openness, Senso Lighting RGB LED strip - ceiling feature
Senso Lighting Flexible LED strip - display area
“Without this light there is no architec- the brightness, and the clean look and feel Delta Light Minigrid trimless LED downlight - display area
ture.” of the space,” notes Finch Avenue Optom- i2Systems V-Line wall grazer - sunglasses display
Civic Mini Tuba LED ceiling mounted fixture - reception area
The displays that run along the walls of the etry’s Dr. George Papadakis. “I have had
Sistemlux Linear Recessed T5
showroom all maintain a clean and cohe- comments like ‘It feels like a museum’ and
sive appearance, despite the daily shuffle ‘I never would have expected it to look like Exam Rooms & Work Rooms:
Sistemlux Double LED recessed directional downlight
of product or change of merchandise. The this on the inside’. I think that people really Focal Point Sky 2x2 indirect T5 diffuser
shelves are designed to unify their contents enjoy the time they spend in our office Sistemlux Under Cabinet T5
Maxilume metal halide downlight
so that the shapes, sizes and colours of the and like the fact that things are open and
Eurofase Vesper wall sconce
glasses never overwhelm clients. airy. The design has helped our business as Senso Lighting LED Puck Light
The main wall of the curved showroom it has made the flow of traffic a lot better
Control:
space is lined by custom-fitted, white lac- and more efficient. The retail component Lutron Skylar Contour Dimmer
quer shelving. More Senso LED strip lighting, has improved as it feels like we have more Lutron Claro Switch Control
recessed into the underside of each shelf, choices for everyone.”
Exterior:
provides a clean pure light, with more gen- www.bortolotto.com Sistemalux Lift Square
eral illumination coming from Delta Light

oberste Ring durch Senso RGB-Streifen eine blaue Fär- attratti da un prominente soffitto oculare. Ispirato alla de alta calidad de la visión como al estilo contemporá-
DEUTSCH bung erhält. Das kühle Blau unterstreicht die skulpturale meccanica dell’occhio e alla profondità della percezione neo. En respuesta, los arquitectos con base en Toronto,
Form der unteren Ringe, wodurch dem Raum eine organ- del campo, otto anelli concentrici cadono a cascata verso crearon un interior visualmente deslumbrante, moderno
Als Finch Avenue Optometry das Architekturbüro Borto- ische Präsenz verliehen und gleichzeitig der Innenbereich il basso, ciascuno definito da delle strisce nascoste a y clínicamente ajustado, mientras que al mismo tiempo
lotto 2012 zum ersten Mal kontaktierte, war der Auftrag beleuchtet wird. Die Decke ist ebenfalls durch die hohen LED bianche della Senso Lighting. Nella parte più bassa, cumplieron con los requerimientos funcionales de los
klar: die Projektierung eines neuen Firmengeländes, Fenster der Fassade sichtbar. Die schafft eine visuelle il lampadario culmina in un centro a specchio che rap- ocupados optometristas.
welches ihr Engagement für qualitativ hochwertige Au- Attraktion für Passanten und unterstreicht die Lux- presenta la pupilla dell’ occhio, mentre al suo anello più Al entrar al showroom, los clientes son atraídos inmedia-
genpflege und zeitgemäßen Stil zum Ausdruck bringen us-Identität des Firmengeländes. in alto è stata data una tonalità blu attraverso l’utilizzo tamente hacia un atractivo cielorraso ocular. Inspirados
soll. Als Antwort darauf kreierten die in Toronto ansässi- di strisce RGB della Senso. L’azzurro freddo enfatizza la por los mecanismos del ojo y la profundidad de la per-
gen Architekten eine optisch erstaunliche, moderne und
klinisch klare Innenausstattung und erfüllten gleich-
ITALIANO forma scultorea degli anelli inferiori che creano una pre-
senza organica, ma illuminano anche l’interno. Il soffitto
cepción del campo, ocho aros concéntricos caen en forma
de cascada, cada uno definido por tiras de LED blancas
zeitig die funktionellen Anforderungen eines geschäfti- Quando l’ Optometria Finch Avenue si è avvicinata per è visibile anche attraverso le alte finestre della facciata, ocultas de Senso Lighting. En su parte inferior, la araña
gen Optometristen. la prima volta all’ architettura Bortolotto, nel 2012, la attirando l’attenzione visiva dei passanti e rafforzando culmina en un centro donde se refleja, representando la
Beim Betreten des Showrooms werden die Kunden direkt sua idea si è concretizzata: progettare una nuova sede un’alta identità pratica. pupila de un ojo, mientras que el aro más alto tiene un
auf ein herausragendes okulares Deckenmerkmal hinge- che esprimesse l’impegno sia per una cura degli occhi di tinte azul gracias a las líneas de Senso RGB. El azul fres-
wiesen. Inspiriert durch den Augenmechanismus und die
Tiefe der Feldwahrnehmung fallen acht konzentrische
alta qualità che per lo stile contemporaneo. In risposta,
gli architetti di Toronto hanno creato un interno visiva-
ESPAÑOL co enfatiza la forma escultural de los aros inferiores, lo
que le otorga al espacio una presencia orgánica, a la vez
Ringe in Kaskaden herunter, jeder wird durch verdeckte mente stupendo, moderno e clinicamente tagliente che Cuando Finch Avenue Optometry se acercó por primera que ilumina el interior. El cielorraso también está visible
weiße Senso Lighting LED-Streifen definiert. Am tiefsten allo stesso tempo potesse soddisfare i requisiti funzionali vez a la práctica Bortolotto de arquitectura en 2012, sus a través de las altas ventanas de la fachada, creando
Punkt gipfelt der Kronleuchter in eine gespiegelte Mitte, degli optometristi. premisas fueron claras: diseñar un nuevo sitio que ex- una atracción visual para los transeúntes, reforzando la
die die Pupille eines Auges repräsentiert, während der Entrando nel negozio, i clienti sono immediatamente presara el compromiso tanto a la premisa del cuidado identidad de sofisticación.
114 ART & DESIGN / ILIGHT MARINA BAY

SINGAPORE SLING
iLight Marina Bay is Asia’s only sustainable light art festival. This year themed Light+heART, the program
featured 28 innovative and environmentally sustainable light art installations from around the world.

The strong line-up of 28 sustainable light art 1.26 Singapore created by US-based artist Polytechnic, saught to inspire visitors to
installations by local and international artists Janet Echelman, was comprised of a large play their part in creating an eco-friendly
brought greater variety and interactivity floating, fluid sculpture that reimagined the environment.
for festival-goers at this year’s iLight tsunami created by the 2010 earthquake in Five other local schools, Temasek Junior
Marina Bay 2014. Organised by the Urban Chile which resulted in the shortening of College, St Anthony’s Canossian Secondary
Redevelopment Authority (URA), the three- earth’s day by 1.26 microseconds. School, Victoria School, Dunman High School
week festival aimed to raise awareness on This year, the festival featured an impressive and Singapore Polytechnic, also came on
environmental sustainability issues through local line-up with about half, or 13 of the board for the first time this year.
artworks with the theme ‘Light+HeART’. At installations created by local artists. This spirit of collective involvment was
7.30pm to 11pm nightly around the Marina As well as this and for the first time, mirroed by #WeHeartLight, an installation
Bay waterfront, visitors enjoyed a visual the festival showcased installations by by Light Collective which asked students
feast specially curated by the three-member the Singapore University of Technology to make simple light boxes that were then
team from ONG&ONG, comprised of Ong and Design (SUTD) and students from assembled together to form the final art
Swee Hong, Andrew Lim and Tai Lee Siang. the Republic Polytechnic (RP). iSwarm, work. Done through a series of workshops,
Headlining the Festival were seven presented by SUTD, reacted to groups of the process of constructing this installation
installations by invited artists, such as visitors by detecting human presence and emphasised the importance of educating the
Celebration of Life by local artist Justin responding with launching a light pattern future generation on sustainability, a theme
Lee, a projection piece on the ArtScience across the waters of Marina Bay. As well than ran throughout the entire festival.
Museum façade that offered a playful as this A Land of Reverie, a drawing using www.ilightmarinabay.sg
commentary on the role and value of fluorescent paint and UV lighting created
traditional culture in contemporary society. by Sheryl Ng and Nigel Ho from Republic

CLOUD
LIGHTING DESIGNERS: Caitlind R.C. Brown
& Wayne Garrett
CLOUD was created from both new
and recycled materials, combining the
aesthetic of incandescent light bulbs with
the brilliance of energy-efficient bulbs.
CLOUD offered a playful commentary about
the changing face of sustainability, while
the piece was bright and attractive to
audiences, the internal contrast of old and
new light technologies provided a critical
dialogue about energy, sources of light and
sustainable progress, while maintaining an
optimistic tone of magic, hope, and beauty.
CLOUD invited strangers to come together
beneath a dazzling raincloud and play.
The edition created for the festival was a
evolution of CLOUD and incorporatied a
more playful system of interaction than
previous incarnations, encouraging a light
hearted spirit of exploration and discovery.
By pulling on a switch, the viewer was
able to trigger a quantifiable shift within
the greater aesthetic of CLOUD, visually
highlighting the power of an individual’s
ability to impact progress and achieve
significant change.
www.incandescentcloud.com
 115

#WEHEARTLIGHT
LIGHTING DESIGNERS: Light Collective
Making light is open to everybody and Light Collective
demonstrated this by teaching 200 local school children
to make a simple light box, personalised with images and
text. When assembled together, the light boxes made
up the installation. Light Collective worked closely with
students from different schools in Singapore, to build the
installation which was inspired entirely by the people who
live in Singapore. This installation was created through a
series of workshops where students played an important
role in the making and design of the artwork. The process
of constructing the installation helped to emphasise the
role of education in guiding the future generation towards
a more sustainable future.
www.lightcollective.net

JOUJOU-OURS
LIGHTING DESIGNERS: Uno Lai
LIGHTING SUPPLIERS: Traxon
Uno Lai believes that interactive arts are not just about technology,
but should reflect simple acts in order to express love. Inspired
by childhood memories of hugging soft toys, Joujou-Ours is an
installation that encourages people to come close and embrace the
light installations. When embraced the embedded lights within the
figures created a magical kaleidoscope of colours.
www.unolai.com
www2.traxontechnologies.com
116 ART & DESIGN / ILIGHT MARINA BAY

SINGAPORE form.
LIGHTING DESIGN: Janet Echelman In the piece for i Light Marina Bay 2014,
Sustainability can relate to the memory Janet Echelman’s luminous 1.26 sculpture
and preservation of the traditional will suspend over the floating platform.
craftsmanship and in 1.26, we see an The form and content has been drawn from
extremely innovative way of preserving observing Earth’s interconnected systems.
a craft that might be seen as obsolete by Echelman used laboratory research from
most. Janet Echelman has been inspired NASA and NOAA which documented the
by the traditional craftsmanship of fish net effects of the 2010 earthquake in Chile —
weaving and lace making in the construct of the historic shock resulted in the shortening
her urban sculptures and has re-intepreted of the earth’s day by 1.26 microseconds. /
the technique to new heights through the www.echelman.com
technology that she had utilised, allowing
all to appreciate traditional crafts in a new

**INSERT CAPTION PLEASE

LIGHTING DESIGN: Ryf Zaini
**Insert Caption Please was a giant speech
bubble that displayed thoughts and
messages akin to comic strips. Our social
interaction has often shifted to screen-
based interfaces as our primary form of
communication. If these speech bubbles
could be representations of our thoughts,
everyone would be walking around with
hovering speech bubbles above their heads.
But these messages were different. They
were autonomous, generating random
quotes and texts. The work beckoned
the audience to react to the heart-felt
comments that were thought-provoking,
witty and at times, humorous.

THE WISHING TREE

LIGHTING DESIGN: The Living! Project
The Wishing Tree represented the positive
hopes and dreams of visitors wishing the
best for the world. It encouraged everyone
to imagine what their perfect world could
be like and wish for it on the tree.
www.facebook.com
thewishingtreebythelivingproject
118 ART & DESIGN / ILIGHT MARINA BAY

HAPPY CROCO
LIGHTING DESIGN: – Bibi
Happy Croco was comprised of a luminous 20m long sculpture, whose
backbone was made of traffic cones. This urban crocodile used two
types of LEDs and low energy light bulbs. It was a puzzle made up
of different objects; a playful and funny installation that carried a
significant and serious message despite its levity. Happy Croco was
both a work of land art and design, a light source and a visual art
installation. This installation’s relation to the theme can be found in
the crocodile itself, which is revealed upon closer examination, to
be made from everyday discarded items that have been given a new
lease of life.
www.bibi.fr

GIANT DANDELION
LIGHTING DESIGN: Olivia D’Aboville
The work was comprised of giant dandelions a forest of 90
larger-than-life light flowers that people could freely walk
through. The installation featured flowers of varying heights and
90 dandelion heads made from close to 9,000 recycled water
bottles that were cut and connected to one another by a nylon
weave. Each flower was lit by an energy efficient bulb in order
to create intensity variations within the forest. the art work was
produced in conjunction with ‘Hope in a Bottle’, a Filipino brand
of water bottle which gives proceeds from their sales to building
new public schools around the Philippines. The exaggerated
scale of the dandelions created an interesting landscape of
light, and through the creative re-using of the discarded plastic
bottles, it sent out a larger message of inspiration and hope to
the less-privileged.
www.oliviadaboville.com

BEAT
LIGHTING DESIGN: ARUP SINGAPORE
Featuring translucent shapes that slowly throbbed with a
relaxed light pulse to draw attention, the stones of Beat
were moved into life by touch. Answering visually, the
objects adopted a human heart beat light pulse. Once
visitors had interacted with the display, the installation was
then synchronised, becoming a single thoughtful beat. The
installation was designed to be inclusive, fun and light-hearted
while promoting a sustainable message, emphasising the point
that it only takes one person to initiate change and collectively,
change can be realised.
www.arup.com
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120 ART & DESIGN / VIVID SYDNEY

Pic: Daniel Boud

VIVA VIVID
Weaving in more areas of Sydney than ever before and attracting an unprecedented 1.43 million visitors, the
2014 edition of Vivid light festival once again brought a warm glow to the New South Wales winter.

The progressive success of Sydney’s Vivid Intel and 32 Hundred Lighting to light the climb to the next level. “This year we
festival reached a new high this year, with interactive Colour the Bridge installation explored new artists, new buildings and
over 1.43 million people coming to see the adorning Sydney Harbour Bridge, with new areas, including the Harbour itself, to
wonderland of lighting installations through visitors to North Sydney taking turns at bring visitors an eye-popping festival that
out the city. It was, organisers observed, choosing their own colour palette on this couldn’t happen anywhere else,” he said.
equivalent to the entire population of world-famous landmark. “Vivid is a wonderful intersection of a
Adelaide filing through the city during the New precincts of Martin Place, the family festival crowd and the best talents in
festival’s three weeks. University of Sydney, Carriageworks, The the creative industry and this year, I think
Vivid Sydney 2014 broke new ground with Star and Harbour Lights were welcome the result has been unforgettable.
more light installations across five new additions to this year’s festival, providing “I look at the large number of joyous
precincts, 60 musical events at Sydney even more spectacular light installations, visitors, everyone smiling, everyone
Opera House, Carriageworks, the Seymour cultural and creative workshops, musical goggling at this amazing presentation of
Centre and the Basement, as well as over performances and culinary delights for Vivid public art – all of it free, of course, and
300 speakers at 180 creative industry Sydney visitors to devour. open to anyone, rich or poor – or getting
events. The popular Vivid Light Walk “Vivid Sydney has also been a huge hit with down to cutting-edge music performances,
returned for 2014, illuminating the night sky retailers, with many reporting double and or inhaling the wonderful, life-changing
from Circular Quay to Darling Harbour with triple their takings compared to a night concepts being shared at the Ideas program,
56 installations brought to life by 140 artists either side of Vivid,” said Sandra Chipchase, and I think: ‘only in Sydney’. Vivid Sydney.”
from fifteen countries. Destination NSW Chief Executive Officer. www.vividsydney.com
A kilometre of fibre optic cabling and Vivid Sydney’s Creative Director Ignatius
100,800 low power LED lights were used by Jones agreed that 2014 had seen the event
 121

THE POOL
LIGHTING DESIGNERS: Jen Lewin
The Pool is composed of 100-120 pads. Each pad is three feet in
diameter and six inches tall. In plan, The Pool can span anywhere
between a 37-foot square (at a compressed scale) to a 75-foot
square (at an expanded scale). Each pad in The Pool is composed
of a custom microcontroller, a wireless Xbee radio, a sensor array
and 180 pixel controlled RGB LEDs with full colour mixing and
fading control. The waterproof polypropylene Pads are made for
aggressive interaction and public use and can be placed outdoors
in virtually any type of environment.
The Pool runs off of three normal 110V AC household outlets and
takes a total of 4-6 hours to setup.
www.jenlewinstudio.com
Pic: James Horan

CLOUDSCENE
LIGHTING DESIGNERS: Milos Carkic
Cloudscene questions the cyclical use and dismissal of the ordinary plastic bottle and
how its role quickly shifts from daily necessity to unwanted landfill. The installation
consists of 3,000 suspended PET bottles, with LED lighting placed between them,
creating an effect of diffused light and transparency. This effect conjures up the
physical shape and characteristics of a cloud. The bottles, that once were used to
transport water, become the tangible and collective expression of water in a different
physical state – a cloud sitting silently amongst the heritage fabric of the city.
By day Cloudscene is an ambient sculpture, capturing light patterns and wind
movement through a narrow channel. At night, the sculpture is animated by light
scenes creating movement and pattern along the laneway.
www.mscarkic.com

Pic: James Horan

TERRA INCOGNITA
LIGHTING DESIGNERS: Ruth McDermott / Ben Baxter
Terra Incognita is based on the diary notes and sketches of the 1911 Mawson expedition
to unknown areas of Antarctica which feature observations of dramatic lighting effects
both during the day and night. As Mawson himself noted “Antarctica is a world of
colour, brilliant and intensely pure...“ .
McDermott and Baxter interpreted this with a combination of dramatic lighting effects
of high visual contrast and colour, accompanied by voice and sound effects to create an
immersive experience for a wide range of viewers.
www.mcdermottbaxter.com

SKY FLOWER
LIGHTING DESIGNERS: Simon Brockwell
Sky Flower was conceived by studying and then amalgamating the
forms of a variety of winter flowers. The artistic intention was
to develop a work that envelops the space around it and draws
spectators in from afar.
A beautiful sculpture when viewed at close quarters, this gigantic
flower blossoms into radiance with petals made of beams of light.
Using the latest technological innovations in lighting, the piece
has been designed to represent a real flower when you view it
from above; from all other angles, Sky Flower dazzles you with an
awe-inspiring light show.
The piece uses lighting equipment supplied by Robe, including
their MMX Blade, 600E Beams, LEDWash 1200s, LEDBeam 100s
and Pointes (all from Robe’s ROBIN Series), plus four CitySkape
Xtremes.
Pic: Brett Hemmings www.robe.cz www.sbld.co.uk
122 ART & DESIGN / VIVID SYDNEY

URBAN TREE PROJECT

LIGHTING DESIGNERS: Nicholas Tory /
Lucy Keeler / Martin Crouch / Julian
Reinhold / Iain Greenhaigh
Urban Tree Project was an architecturally
mapped digital projection, transforming
the MLC building into a magnificent living
tree within a dense urban environment.
The installation explores themes and
questions relating to urban lifestyles, the
impact of high-density living on the natural
environment and our very human need for
green space.
Out of the darkness, the MLC building was
transformed as a series of shoots sprouted
from the ground. Slowly they matured into a
dense copse of trees with rich green folliage
enhabited by a diversity of wildlife.
Pic: Brett Hemmings Video projection was provided by TDC –
Technical Direction Company.
www.tdc.com.au

KALEIDO-WALL 1.0
LIGHTING DESIGNERS: Vin Rathod /
Priyanka Rathod
Kaleido-Wall 1.0 allows spectators to see
the surrounding space in mosaic form:
crowds mixed with tiny shattered images
of nearby buildings and structures, all
enhanced by strips of coloured light.
The wall is a 1.2m deep, modular
latticework; all internal surfaces of the
structure are constructed using highly
reflective, mirror-like panels. It can be
viewed from both sides and the reflections
work both in daylight and at night.
www.throughvinslens.com

Pic: Daniel Boud

VANTAGE POINT - SEA OF PEOPLE cultural festivals. At the same time it is

LIGHTING DESIGNERS: John Wright also a response to the local community and
Sculptor John Wright and North Sydney growing number of visitors to the North,
Council presented an installation comprising who have come together to celebrate the
22 perspex figures sited on the harbour winter festival and, from this vantage point,
foreshore at Kirribilli. witness the spectacle of the lights across
Titled ‘Vantage Point – Sea of People’, this the harbour from one of North Sydney’s key
subtle piece invited visitors to the site to landmarks.
wander through and around the life size The transparent nature of the piece
figures of varying scale and proportions. delivered a layering effect, with each
Each figure is animated and ‘alight’, ‘sillhouette’ appearing brighter or paler
making reference to the splendour of the depending on the angle of view.
Vivid event and its continuing place as The piece was supported by Paul Hopmeier,
Pic: James Horan
one of Sydney’s most important arts and Defiance Gallery and The Lighting Guild.
REMOTE CONTROLLED LIGHTING
As simple as it sounds

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next generation of remote controlled luminaire Bold styling and high versatility set this spotlight
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integration into troughs just 200mm wide. Available
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DR8 MK2 is ideal for double height spaces due to its rendering of CRI 92 as standard. www.rclighting.com
124 ART & DESIGN / VIVID SYDNEY

CELLULAR TESSELLATION cellular ‘Voronoi’ shapes, cut from flat

LIGHTING DESIGNERS: Architectural sheet materials, folded, and aggregated to
Fabrication and Research Laboratory / create the pavilion.
Chris Knapp / Jonathan Nelson / Michael The pavilion is CNC-cut from flat sheets of
Parsons high density polyethylene – recycled plastic
Cellular Tessellation is an architectural milk bottles. Each ‘cell’ contains an array
installation that transforms the urban of LED lights, driven by Arduino micro-
experience of pedestrians. This softly processors and motion sensors.
glowing, geometric form responds to The artwork was developed by a team of
movements, resulting in an ever-shifting three design-driven academics from the
space of patterned and immersive light. Soheil Abedian School of Architecture of
Pic: James Horan Innovative ‘computational form generation’ the Gold Coast’s Bond University, who have
techniques were used to create and resolve developed the project to research emerging
the shape and componentry of the pavilion. possibilities in architectural form and
The geometry of the artwork is a complex construction.
surface comprising an organic array of

CIRCUS OF LIGHT
LIGHTING DESIGNERS: Griffen Lim / Maggie McFadyen
Circus of Light is a collection of suspended plate forms that glow from within, inviting
specators to engage with the installation. Whirling forms and changing colour transform the
site into a dynamic space that draws the viewer closer.
The spun-aluminium forms conceal an LED light source that creates a continuous glow. The
‘plate’ appears to spin to 360 degrees and tilt up to 90 degrees; the installation continuously
changes depending on your viewing perspective. Additional ‘plate’ forms populate the
space, creating a dense field of play. These plates are lightweight, allowing them to respond
to weather conditions, moving and swaying in the breeze.
The surrounding architecture becomes an illuminated backdrop, throwing the installation
into sharp relief and becoming part of the artwork. The experience is supplemented by the
audio overlay of a circus soundscape.
www.griffenlim.com Pic: James Horan

THE LIMINAL STATE

LIGHTING DESIGNERS: Susan Theron Ales Vasenda / Glen
Anderson / Paul Gough / Michael Kellis / Jeffrey Stokes / Laura
Jade Hindes
The Rocks is an area that brings together a rich Sydney history with
modern developments. The Mission Steps provide a key thoroughfare
between these old and the new spaces and so were the ideal location
for the Liminal Zone.
The concept of ‘liminality’ refers to a sensory threshold, an
intermediate state, or a barely perceptible condition. It is generally
recognised as a period of change; characterised by a sense of
ambiguity and openness. The dissolution of order during liminality
creates a fluid, malleable situation that enables new ways of being.
The installation enveloped the public in sound and light, transporting
them to a sensory realm, where forms flicker and shadows are
Pic: James Horan
fleeting.
126 ART & DESIGN / OPINION

LIGHT YEARS AHEAD

There’s a lot of talk about 2015 and the International Year of Light (IYL2015) but we are not
convinced that many people know whats it’s all about. If you do, then we commend you, if not
shame on you because you should do. Here’s a quick intro to what it’s all about.

So what exactly is the IYL2015? solutions in the areas of energy, education, serve the needs of this quite small commu-
The United Nations (UN) International Year agriculture, health and wellbeing. The nity. This leads to a lot of fragmentation
of Light and Light-based Technologies 2015 company will also support the programme and each organisation has its own agenda.
(IYL2015) is a cross-disciplinary educational “Study after Sunset” to promote the use of We would be so much stronger working
and outreach project with more than 100 portable solar-powered high-brightness LED together. An initiative like the creation of
partners from over 85 countries, accom- lanterns in regions where there is little or the L-RO gives us an opportunity to speak
panied by the UNESCO International Basic no reliable source of light. with one voice.
Sciences Program (IBSP). It is a global
initiative that will highlight to the citizens What is this new organisation called the Why should you get involved?
of the world the importance of light and L-RO? It’s an opportunity for every single person
optical technologies in their lives, for their Lighting-Related Organisations (L-RO, ww- involved in and passionate about lighting
futures, and for the development of society. w.l-ro.org) represent a broad global profes- within our industry to speak to a wider
The year 2015 is a natural candidate for the sional community of people who work with audience in line with the aspirations of UN-
IYL, commemorating a number of import- light and lighting in the built environment. ESCO making this our greatest opportunity
ant milestones in the history of the for education outreach to date. As an
science of light. industry, we are excellent at talking
to each other about lighting but we
Who are the official supporters? rarely break through the confines of
Companies, universities and other or- our professional world to connect
ganisations are joining this initiative with other people and share what we
to support the aims of the United do. This is an opportunity to create
Nations and UNESCO and to create a dialogue about the importance
partnerships with key stakeholders of light in every aspect of our lives
and end-users in the field of light and the spaces we inhabit. Moreover
technology, culture, development all the ideas included in the official
and education. General Activities Programme by
IALD recently announced its Patron L-RO will be given privileged publi-
Sponsorship of the IYL2015. “Most cation opportunities in the press and
people experience light and lighting general media coverage from all over
in the built environment,” said IALD the world. Raising awareness of light-
President Barbara Horton. “The Interna- The representatives of 30 associations, ing design should be our top priority. The
tional Year of Light 2015 offers a terrific collectives, universities, events and media idea that lighting design is fundamental for
opportunity to help draw public attention to from 20 countries formed L-RO in April 2014 all environments is something that we need
the impacts of light on human comfort, pro- to help achieve the aim of public recogni- to strive to make the whole world aware of.
ductivity and well-being. Lighting designers tion of lighting design and education, that
combine best practices in design with the is embodied in the UN International Year of How can you be involved in the IYL2015?
most current technology to simultaneously Light. Be part of the activity program. It doesn’t
improve quality of life and reduce the neg- L-RO launched a Call for Ideas for events to have to be something that costs lots of
ative environmental impact of our work. IYL frame the general concept of the IYL2015, money nor do you need to have years of ex-
2015 will provide a framework for lighting to allow lighting-related people to contrib- perience. It also doesn’t need to be a large
organisations around the world to build ute to IYL2015 and tap into the constantly event. You could offer a lighting design
public and policy-maker understanding of growing lighting community. Managed en- clinic, open your office to other disciplines,
the role that light and lighting play in daily tirely on a volunteer basis, the L-RO effort go into a local school and talk about light,
life.” IALD has worked throughout 2014 to is the only global repository of IYL 2015 offer to teach a class at a university or
help raise the profile of the architectural events and activities related to light in the college, create a tour of your projects or a
lighting design profession within the IYL built environment and will co-ordinate an general light walk around a city, hold a pe-
structure, and has been instrumental in international General Activities Programme. cha kucha or just make some light happen
the establishment of “light and the built in the street..
environment” as a key pillar of IYL, which What’s the point of it all? Do something. Join in and help make the
was initially focused primarily on optics, Our industry is not big. The mondo*arc IYL2015 something to remember.
photonics, and other light-related sciences. International Lighting Designers Survey www.l-ro.org
As a Patron Sponsor, also Philips will work includes approximately 1200 consultancies
with UNESCO to raise awareness of the ways worldwide. There are an incredible number By Light Collective and Chiara Carucci (L-
that light- based technologies can provide of organisations that have been created to RO Leading Coordinator for IYL2015).
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
128 ART & DESIGN / DARK SOURCE STORIES CREATED BY KEREM ASFUROGLU
 darksourced.tumblr.com
facebook.com/darksourced 129
130 TECHNOLOGY / CASE STUDY

OVERARCHING
FAST FOOD
Livingprojects, Philips Value Added
Partner, has designed a colour changing
LED system to add dynamism to a
‘foodstrip’ in Amsterdam.
 131

Near to the iconic Fletcher Hotel on the

outskirts of Amsterdam is a sculpture com-
prising sixteen curved arches of steel over a
‘street’ of fast food restaurants. These are
located adjacent to a network of roads and
junctions so that drivers can easily stop and
purchase a quick meal.
The original installation had a simple line of
static green LEDs recessed in the arches but
the luminaires had degraded over time and
many were not working at all.
In this location, it is important to have
something eye-catching but not too
distracting for drivers. The owner, Caran-
sa Groep, wanted not only to renew the
existing lighting but also to upgrade it for a
more dynamic and reliable system.
Livingprojects were asked to provide a
complete solution. This included the design
of a new aluminium strip and mounting sys-
tem for the LEDs, the layout of the control
cabinets, programming of various scenes
and producing a complete methodology and
drawings for the installation contractor.
“Our customers include lighting designers
and electrical contractors but, in this case,
we were asked to do everything”, says
Michael Sebregts, Director of Livingprojects.
Even with static colours, the overlapping
arches provide a constantly changing view
as you drive past or walk underneath. The
lines of colour and angles criss-cross as you
move along.
Of course, installing colour changing and
sequencing LEDs adjacent to a busy road
network requires co-operation and approval
from the Local Authority highway engineer.
“We took a softly, softly approach” says Jur-
gen Bal the Technical Manager at Livingproj-
ects. “There are no rules for a structure like
this. Are the arches a sculpture, a tunnel or
a building? We had a lot of discussions and
agreed to introduce moving colours only for
special events”.
The basic pre-set scenes are ten static
colours and five dynamic. The static colours
change daily whereas the dynamic are used
for holidays and special events. For exam-
ple, when the Ajax soccer team is playing,
the LEDs can be set to red and white. If the
client wants it, the LEDs can flash when a
goal is scored. Livingprojects programmed
all the scenes and produced complete wir-
ing diagrams for the installation.
These scenes can be accessed by a small
control box installed near the arches.
Although the length of the ‘foodstrip’ is
only 150m, a total of 1.8km of CK Flex is
installed in the 20 arches.
www.philips.com/livingprojects
132 TECHNOLOGY / CASE STUDY

REMAKING HISTORY
Tyneside has a thrilling history and many of its industrious relics, including some early lightbulbs, can be
found in the refurbished Discovery Museum in Newcastle. Fixtures from Concord were used to light history.

A new and improved lighting scheme at the A programme of on-going refurbishment displays being unlit. The new luminaires
Discovery Museum in Newcastle has been has delivered improvements to many of feature in various galleries in the museum
unveiled. The science and local history the galleries at the museum, including the including the Entrance Gallery, Story of the
museum that displays the 34 metre long ship, Entrance Gallery which houses the Turbinia. Tyne Gallery, Ballroom Gallery, Soldiers Life
Turbinia, the first steam turbine powered For many years the museum has used Concord Gallery and the Destination Tyneside Gallery
steamship, the museum also features examples track lighting, and continues to do so for its which has recently been redesigned by Redman
of Joseph Swan’s early light bulbs, which were compatibility with both new and existing Design.
invented on Tyneside. luminaires. Showcased throughout the museum are several
Concord products were used on the project “This cost effective solution provides us with products from Concord’s Beacon spotlight
due to the company’s longstanding history of an aesthetically pleasing design that is fully range, from Beacon 26W High Output in the
working in museums and the choice of LED compatible with our existing lighting track,” high ceiling entrance gallery, through to the
products was driven by the advantages of comments Phil Robinson, Customer Service and flexible Beacon Muse in the smaller gallery
energy efficiency and reduced maintenance. Facilities Manager at the museum. spaces such as Destination Tyneside and
The new lighting scheme incorporates several The new lighting scheme has lowered energy Soldiers Life gallery.
areas of the museum and features Beacon consumption and on-going maintenance by www.havells-sylvania.com
and the multi award-winning Beacon Muse eliminating the need to replace failed lamps
luminaires from Concord. therefore reducing the incidences of museum
 133

PRETTY IN PINK
Applelec products have been used in the relaunch of Nayomi stores across the Middle East. Pink was the
chosen theme and a creative use of light sheet panels were used to achieve the required style.

With over 180 stores, Nayomi is the largest with illuminated feature bays inside the products for use. Due to this, the new
lingerie chain in the Middle East. As part of store that are all lit with Applelec’s LED Nayomi stores are lit entirely by LED with
an extensive programme of development, Light Sheet behind decorative pink panels. LED chandeliers and directional product
three Nayomi flagship stores within large Applelec’s Aura Linear LED profiles were lighting in addition to LED Light Sheet
city malls have recently been launched used to illuminate coving areas with 4100K panels and Aura Linear LED profiles.
with store designs by London’s Kinnersley LEDs used in both the LED Light Sheet To meet the project demands, Applelec
Kent Design, with a fourth store in Yas Mall panels and LED profiles behind a pink filter achieved compliance verification for LED
UAE currently being fitted. Created around to achieve colour consistency. Light Sheet, which enables the company to
a Princess Palace theme, the new stores The construction of the store entrance export across the Middle East. In addition
feature a powder-pink colour scheme with structure included fitting the LED Light to the three Princess Palace themed
ornate mirrors and decadent chandeliers. Sheet panels into the entrance way stores, LED Light Sheet entrance features
New stores created with this theme include framework. This structure was then have been created for two smaller Nayomi
the Mall of Arabia in Jeddah, Nakheel Mall dismantled into smaller pieces for stores in the Al Salam Mall in Jeddah and
in Riyadh and the Mall of Dhahran in Saudi transportation and reassembly as part of Al Moor Mall in Madina, Saudi Arabia. The
Arabia which covers 350 square metres the store re-fit. next development at Yas Mall, UAE is set to
of retail space. The flagship stores have In managing a large portfolio of stores, launch in time for the Abu Dhabi Grand Prix
each been designed with large pink-lit the issue of maintenance was a significant in November 2014.
entrance ways and window displays along consideration to team when selecting www.applelec.co.uk
134 TECHNOLOGY / CASE STUDY

DIM THE HOUSE LIGHTS

The reinvigorated Tivoli Vredenburg in Utrecht is one of the leading cultural venues in The Netherlands. CLS
provided house lights with a unique dimming capability for the building’s auditoriums.
On July 3rd 2014, King Willem Alexander been provided, a foyer has been added and housing, ensures that glare is reduced to an
officially opened the completely renewed both in and outdoor walls, ceiling and floors absolute minimum.
Tivoli Vredenburg in Utrecht. have either been renovated or completely In addition, it is one of only a few fixtures
The venue came about as the result of renewed. available on the current market, that is ac-
merging two existing venues: Tivoli, one CLS partner Fairlight teamed up with tually able to match the results of tradition-
of the most famous stages for pop music Utrecht based Airlight to supply the lighting al light sources on a height of 16 metres,
in The Netherlands, and the Music Centre and other stagecraft equipment for all but with a maximum power consumption
Vredenburg, which is known for its classical venues within the new building. A challeng- of only 16.8 Watts. Lighting technicians
music performances. ing task, executed perfectly. For the main of different theatres and auditoriums are
Tivoli Vredenburg consists of five differ- auditorium, the CLS Ultima was selected as most impressed with the possibilities that
ent concert stages, each with their own house lighting, as this fixture had already this particular fixture has to offer. In this
character, while four new concert halls have proved itself in various theatres and audi- setting, perfect dimming is a must and the
been constructed around the existing main toriums. The Ultima is an excellent fixture Ultima amazes many.
auditorium, with the main stage, undergo- for this kind of application, due its unique www.cls-led.com
ing a complete overhaul. New seats have dimming method and the very low UGR-val-
been installed, a new lighting system has ue. The combination of lenses and black
136 TECHNOLOGY / CASE STUDY

L.A. IS MY LADY
L.A. Live is one of the principle entertainment areas of Los Angeles, playing host to major sporting and
music events. A new instillation of Griven fixtures ensures that the building is visible on the L.A. skyline.
Adjoining the Staples Center and the Los ments. The STAPLES Center is also home of glittering, powerful beams of light reflect-
Angeles Convention Center, the L.A. Live the Los Angeles Lakers. ing, in a skyward-pointing sparkling mesh
district is home to some of the best attrac- AEG’s Paul Flanagan, Director of Engineer- of light, the inventive, forward-looking
tions in Southern California. The amuse- ing, wanted to come up with something design that has always been the foundation
ment structure is located on a 27-acre (over more dramatic, with little maintenance and of L.A.’s reputation as a centre for cut-
109,000.00m2) site and features an array a wow factor for the site. He called upon ting-edge architecture and illumination.
of entertainment venues, retail, commer- industry veteran Brian Konechny (now at Specified and supplied by Solotech, the
cial and residential spaces, including the Solotech) to help. 40 units of the Griven narrow single beam
Conga Room, The Grammy Museum, and The The Griven unit appealed because it had searchlight Imperial in custom white finish,
Ritz-Carlton Los Angeles hotel as well as a less moving parts than typical fixtures, so located either on the roofs or at the base
host of other renowned restaurants. reliability was greater and it was possible of all the buildings that form the L.A. Live
40 Imperial 4000W searchlights by Griven to program synchronised patterns via DMX, district, every night precisely sweep their
crown the District, producing a spectacu- making the lights even more dramatic. powerful white rays through the sky of
lar dancing light choreography supplied by Griven stepped up and made some custom Downtown L.A. attracting the attention of
Solotech. modifications that made the installation thousands of tourists and residents. Their
Opened in 1999, STAPLES Center is a large and control straight forward. All of the high reflectivity optics and precision focus
multi-purpose sports arena owned and man- fixtures are controlled and programmed on setting ensure a superbly bright, perfect
aged by AEG, which hosts over 250 events an Interactive Technologies Cue Server and light beam visible from great distances,
including the annual GRAMMY Awards, con- through a selection of Pathway DMX nodes. while creating a memorable, breathtaking
certs, family shows, national conventions, L.A. Live district now looks as if it is show.
all-star games, championships and tourna- wrapped up in a geometric pattern of www.griven.com
LED EXPERTISE SINCE 1977

Kerb lighting along ground in Nîmes, South of France

www.lec-lyon.com In use: 1836-Ville de Paris LED marker-lights / Light designer: Côté Lumière / Pic: V. Formica
138 TECHNOLOGY / LIGHTING CONTROL CASE STUDY

LOUD AND CLEAR

As part of its decennial lighting redesign, the Oriental Pearl TV Tower has been given a StrongLED system
capable of controlling a multitude of fixtures types whilst protecting against electromagnetic interference.

Completed in 1994, the Oriental Pearl systems that had successfully undergone default incoming signal is lost, the sub-con-
TV Tower was one of the first towers to exhaustive testing. troller will be automatically switched to
rise from the former farmland of Pudong, With over 1,000 projects completed for the other signal source. The switch-over
the district of Shanghai to the east of the both domestic and international markets takes less than 0.1ms – seemless for anyone
Huangpu River. Its iconic shape quickly (including Beijing SOHO Galaxy, Sichuan watching the light show. Once a signal is
came to symbolise the city’s emerging TV Tower, The Tianjin Ferris Wheel, and lost, the master controller also raises an
aspirations to become a global economic Orchard Road shopping Mall in Singapore), alarm to alert technicians to the failure.
powerhouse. Now joined by a parade of StrongLED was well placed to deliver proven The transmission energies from the TV an-
ever-taller neighbours, the Oriental Pearl technology. tenna on top of the Shanghai Oriental Pearl
remains popular, welcoming thousands of StrongLED identified key features of the TV Tower, radio frequencies reflections from
visitors each year. Pearl Tower and upgraded some key func- surrounding tall buildings and navigation
As scheduled on its unveiling in 1994, the tions of its original Versalink Outdoor Light- radar and radio communication equipment
tower’s exterior lighting system has been ing Control System to meet the project’s on ships plying the Huang Po river all pro-
redesigned and renovated every decade in needs. Firstly, it developed and applied its duce electro-magnetic interference (EMI)
order to refresh its presence on the Shang- ring topology to connect the master control- against which the control system had to
hai skyline, reinventing it for a contempo- lers to all the sub-controllers. Two main be protected. This problem is compounded
rary audience. 2014 saw the latest phase controllers are programmed as back-up to by the huge distances between the control
of lighting implemented, this time using each other, and signals are sent out from room in the basement to the fixtures at the
technology from StrongLED. two directions - clockwise and anti-clock- top of the 480 metre tower.
The tower’s role as both economic and po- wise - to each sub-controllers respectively. StrongLED used fibre optics to connect the
litical symbol meant that, once completed, A sub-controller receives signals from two master controllers and all sub-controllers.
the music and light show had to consistently directions simultaneously, keeping the show High-efficiency transmission, and 100%
deliver without operational failures – par- going should an error occur with one route. resistance from EMI interferences made it
ticularly during special events and festivals. A dual back-to-back configuration of the the ideal choice. Fibre optics are also able
Consequently, approval was only given on master controllers means that, if the to cover long spans: 2,000 metres in mul-
 139

Above left StrongLED developed a ring topology that connects the Master Controllers to all the sub-controllers. Two main controllers are programmed to act as
back-ups to each other, and signals are sent out from two directions - clockwise and anti-clockwise - to each sub-controller respectively. Each sub-controller receives
signals from two directions simultaneously so that, should an unexpected breakdown that could happen in one direction, a signal will still reach its destination.
Above right A schematic showing the DMX to LED connections.

timode, and more than 20,000m in single has easily met the specifications of 150,000 two spheres of the Tower, halogen lights,
mode. control nodes and 30Hz refresh rate for this laser lights, 7000W search lights, and the
All I/O ports on sub-controllers that project. LED display screen on the steps of the front
connect to the LED luminaires and control The control technology applies powerful square at the entrance. These all have dif-
system use opto-couplers. These isolate application-specific computing algorithms ferent control methods and lighting effects,
electro-magnetic, static and lightning that allow the video show to be displayed but had to be coordinated and controlled
interferences so that controllers and master smoothly and without distortion even under one system with one master.
control system are protected. though the LED pixels differ in physical StrongLED customised its master control
The project comprises thousan of high-pow- placement due to constraints imposed by software, enabling it to individually sort
er luminaires and a 500 square-metre LED the building’s structure. and arrange the data format of each type of
display screen on the Tower grand entrance In spite of the physical irregularities, the light and transfer the data and output signal
steps. In total there are 150,000 lighting master controller can record and remember according to the installation position and
nodes to be controlled by the single master the relationships of every single wiring con- the signal connection conditions.
controller with a refresh rate of 30Hz for nection, installation position, and logical An accompanying music score has long been
this project. positions of each of the luminaire or pixel. part of the tower’s light show experience.
StrongLED‘s Versalink outdoor lighting This technology actualises the expectation The new system allows music to be syn-
control system uses a real-time player to of controlling irregular placements through chronised in one of two ways: by outputting
control lighting nodes as individual pixels, real time transformation of signals and a score sourced from the original flash file
driven by the Flash files playing on the parsing to the luminaires in a regular and or by taking an external music score as a
display monitor of the master controller. efficient way. trigger for the light show. A digital sound
The refresh rate of the screen of the master There are nine types of luminaires involved processor converts the audio into a digital
controller is exactly the same as the real in this project including LED RGB linear frequency spectrum, which then activates
lighting show. The maximum coverage of lights, LED RGBW flood lights, LED strobe predefined lighting effects, wowing the
VersaLink is up to 1024 x 512 x4 (2,090,000) lights, Space Capsule cross-shape lights, watching crowds across the river.
pixels at 60Hz refresh rate. Therefore it LED node pixel lights on the façades of the www.strongled.com
140 TECHNOLOGY / LIGHTING CONTROL CASE STUDY

BREAKING THE BANK

The Banking Hall in the former Lloyds Bank is an imposing Art Deco treat, from a time when the
bank was still an institution to respect. The hall, now a restaurant, features a layered lighting scheme
created by using RCL fixtures.
London-based event company Camm and The offering – a restaurant – did nothing to RCL handheld controller, the client is able
Hooper has created a glamorous events, celebrate this amazing space and we knew save group settings once regular table layouts
exhibition, dinner and conference venue at the that if we could have it, we would create a have been established,” Jerram explains. “The
Banking Hall, at the heart of the Square Mile, magnificent venue.” DR2s hang off a lighting rig for the main hall
the city’s historic finance district. “I approached the project by building layers where a cherry picker would have had to be
The art deco former Lloyds Bank building’s of light, general lighting for the finishing used. In the mezzanine, which has a lower
refurbishment by interior designer Russell kitchen, main hall and conference services; ceiling height, it is beneficial to be able to save
Sage Studios includes state-of-the-art lighting, architectural lighting to do the interior more settings for different types of event because
sound, AV and internet facilities that have justice and to pick out architectural features, they change frequently. The lighting had to be
transformed the Banking Hall’s Grade II-listed and a layer of theatrical lighting on top of remote controlled to be flexible enough.”
main hall and mezzanine. The lighting design that with colour changing to add dynamism. I The Director DR2 is a surface-mounted remote
by Victoria Jerram incorporates remote decided to use remote controlled spotlights in controlled spotlight, adjustable in pan, tilt and
controlled LED spotlights that play a crucial the main hall for table spotting and to pick up dim level. Jerram specified 38 DR2 spotlights
role in both the interior design and in adapting key elements of the architecture.” with custom hook clamps to avoid damage
the space for a fast-changing variety of events. Victoria Jerram specified 38 Remote the fabric of the building. The scheme uses a
“Camm and Hooper is all about creating Controlled Lighting’s Director DR2 and 18 further 18 DR7 spotlights. The RCL spotlights
amazing events through design, food and DR7 LED spotlights, that can be directed have sufficient ‘throw’ to cope with the 27m
service in iconic buildings in central London,” and refocused from the floor using handheld x 14m main hall’s lofty ceiling height of 10.8m.
explains managing director Claire Lawson. wireless controllers, enabling staff to The RCL fixtures ensure thay a beuutiful space
“When we were offered the opportunity reconfigure the lighting for different occasions has been beautfully lit.
to view Banking Hall we were blown away without the need for scaffolding or ladders, www.rclighting.com
by its heritage, style and current misuse. saving time and reducing costs. “Using the
142 TECHNOLOGY / LIGHTING CONTROL CASE STUDY

MIRROR
IMAGE
ETC fixtures have been used to
light the Queen’s paintings in the
V&A as well as an impressive
new artwork.

As part of the London Design Festival, a

giant mirrored sculpture was installed in
a gallery in the Victoria & Albert Museum
which plays host to the 500 year old Rapha-
el Cartoons. When lighting designer Ama-
rasri Songcharoen (aka Marci Song) of Seam
Design was looking for the best lighting
fixtures to light the artworks she required
something that would output minimal or no
ultraviolet light, while providing a perfectly
lit atmosphere.
As part of the month long Precision & Poetry
in Motion exhibition, design agency Barber
Osgerby developed a system of two giant
mirrored aeronautical ‘wings,’ which were
suspended in the room and would slowly
rotate on motors, altering the reflections of
the Raphael Cartoons. To light the artworks,
16 ETC Source Four LED Series 2 Lustr fix-
tures, controlled by an ETC Ion control desk
were used.
“We were asked to provide a lighting
strategy and design for the room and of
the sculpture to reveal the Barber Osgerby
sculpture in its best light,” says Song. “We
also had to pay careful consideration to
providing appropriate light sources and light
levels for the priceless art pieces which are
on loan from the Queen.”
The sculpture’s wings were clad with a high-
ly polished mirror finish and it was decided
to light the elements surrounding it, rather
than lighting the piece itself – but since
the floating objects occupied most of the
view to the ceiling, the existing high level
lights for the artworks would be blocked
periodically. Seam Design’s developed a new
system for lighting the room, using striking
illumination and a dramatic wash to the
floor. The Cartoons are then reflected on
the wings above them, so that they can be
seen by the people standing underneath.
“Through its slow rotations,” describes
Song, “the sculpture is disorientating and
mesmerising, emerging from high level in an
uncanny way. The dramatic light enhances
these experiences.”
www.etcconnect.com
 143

STYLE IN STOCKHOLM
Winning awards in recognition of its workplace style, Microsoft’s new base in Kista, Stockholm, offers a
blueprint for a more relaxed way of working. Harvard products were used amid the revolutionary layout.

LED solutions have played a key role in as it offers up to 42˚ manual tilt, good The long lifespan and high efficiency of the
an award-winning office refurbishment in glare control and is dimmable. The lights LEDs have been combined with a driver control
Stockholm. Named ‘Sweden’s Most Stylish are driven by 30W CoolLED DALI drivers solution to offer an energy efficient lighting
Office’, Microsoft’s base in Kista, Northwest from Harvard Engineering, a cost-effective system and Microsoft are also benefitting from
Stockholm, features a transformed layout and package which offered designers intelligent, lower maintenance costs.
new lighting. programmable digital dimming and delivers a At present, most lighting systems are only
A survey into the way that the office was high performance solution for powering high controlled by the on/off switch, with as many
being used before the refurbishment found brightness LEDs from a mains supply. as 80% of offices lit by outdated and inefficient
that three quarters of 600 desks, occupying Choosing the right LED driver is vital to the systems. Installing new lighting technologies,
about 60% of the premises, were not regularly success of any lighting design and this flexible, together with lighting controls, can result
occupied due to the availability of laptops, high performance lighting plan illuminates in savings of over 50% in terms of energy
tablets and smartphones. working areas that are now more informal, consumption and cost.
It was therefore decided to create user- relaxed and conducive to original thinking, Microsoft has long been in the vanguard of
friendly work spaces that encouraged creative with colour schemes ranging from bright, change and this award throws the spotlight
thinking, a move that demanded an equally energetic spaces that feature turquoise, blues on a new blueprint for offices that are fitted
original lighting scheme that offered flexibility, and acid yellow to more mellow working areas for new ways of working, enhanced by cutting
dimming and energy-efficiency. shaded in muted greys and mauves. Employees edge LED technology that delivers low carbon,
Sleek, recessed downlights, chosen to have the option of working together in clusters high performance illumination.
complement the building’s low ceilings around small tables, sitting on high stools at www.harvardeng.com
were used throughout. The EDL62ZP from counters or working in a more relaxed style on
Lucifer Lighting Company was installed sofas.
144 TECHNOLOGY / BENCH TEST

Since its launch at Light + Building earlier this year, the CoeLux artificial skylight system
has been causing a stir in Lighting Designer circles. Product designer Jonathan Morgan
takes a look at the technology behind a ground-breaking new effect.

HEAVENS ABOVE

CoeLux is no ordinary luminaire. Essentially sunlight pouring through the skylight above end of the visible spectrum). When you
it is a product that reproduces, with is completely artificial. As with Magritte’s look up through the skylight, the chamber
remarkable veracity, the effect of bright painting, there is a kind of paradoxical joy above is perfectly sky blue as the white
sunlight passing through our atmosphere, which is felt in experiencing this seemingly light from the LED sun has passed through
through a skylight and into the room where impossible simulation of reality. this optical sky-sun diffuser making the blue
it is installed. Through the clear skylight Paolo Di Trapani, a physicist of the wavelengths more dominant. The areas of
window you can see the unmistakable blue Department of Science and High Technology the room in shadow also have a bluish hue,
hue of the sky above. The ‘sun’ itself is at the University of Insubria in Como, has which is very similar in a naturally sunlit
a hugely powerful LED projector which is been working on CoeLux for twelve years room.
concealed above the ceiling at one end of but it is only now that the public are getting Richard Kelly, one of the pioneers of
the room, but which can be seen through a chance to experience it. The technology lighting design, coined his definitions ‘focal
the skylight if you stand at the opposite behind the CoeLux combines three key glow’ and ‘ambient luminescence’ in the
end of the room. The artificial ‘sunlight’ is elements: the latest LED technology that 1950s. He describes ambient luminescence
cast against one of the walls in that warm, reproduces the sunlight’s spectrum; a as light “...in any art gallery with strip-
dramatic and evocative way that bright sophisticated optical system that creates lighted walls, translucent ceiling, and white
sunlight enters a room on a sunny day. the sensation of the distance between floor. Ambient light produces shadowless
Professor Paolo Di Trapani, creator and CEO the sky and the sun; and nanostructured illumination. It minimises form and bulk.”
of CoeLux, cites René Magritte’s surrealist materials to mimic the light transmission of His focal glow “is the follow spot on the
painting ‘Empire des Lumieres’ as one of his sunlight through our atmosphere. modern stage. It is the pool of light at
sources of inspiration. Magritte’s painting Di Trapani and his team created their your favourite reading chair. It is the shaft
depicts a house dimly lit by a street ‘Optical sky-sun diffuser’ by embedding of sunshine that warms the end of the
lamp in the dark of night, and above it, a transparent nanoparticles within a clear valley. It is candlelight on the face, and
paradoxically bright blue daytime sky. 60 polymer sheet. The ratio of blue and a flashlight on a stair… Focal glow draws
years on from the creation of that painting, red scattering optical densities within attention, pulls together diverse parts,
Di Trapani’s skylight installation is indeed a this diffuser is designed to recreate the sells merchandise, separates the important
surreal experience; installed in a basement Raleigh scattering process – the naturally from the unimportant, helps people see.”
room in central London that receives occurring process where the light from In an age of often ubiquitously uniformly lit
no natural light, CoeLux reproduces the the sun is scattered off the molecules of interior spaces, CoeLux reintroduces the
physical effects and optical phenomena of the atmosphere. This is what gives the sky vivid interaction between light and shadow
natural sunlight almost exactly. You have to its blue hue – Raleigh scattering is more that Kelly would describe as ‘focal glow’.
constantly remind yourself that the bright effective at short wavelengths (the blue CoeLux describes the ‘bliss and the joy’
 145

The CoeLux skylight system, developed by Professor Paolo Di Trapani, uses a series of nanostructured materials to mimic the light transmission of sunlight through our
atmosphere, delivering the brilliant blue of a clear sky. A sophisticated optical system creates the sensation that the ‘sun’ is far away, tracking across the blue ‘sky’ as
the occupant moves through the room below.

of sunny skies and there is certainly an ever so slightly futuristic feel to it. The atmospheric phenomena, in which light
inexplicable positive feeling that is created skylight is designed to be used in interior is diffused, diffracted or refracted by the
with the skylight installation. Although it spaces where there is no natural light. air, the clouds, drops of rain, branches of
has none of the actual health benefits of CoeLux expect its application to be used a tree, etc.’ This exhibition was an early
natural sunlight – it doesn’t have ultraviolet in basement gymnasiums, underground stepping stone in Di Trapani’s research into
radiation that works to synthesise vitamin car parks, subways, airports, shopping the replication of natural lighting effects.
D3 – there is a claim that CoeLux could be malls, offices, museums and even small At the moment, CoeLux is installed in
beneficial to those who spend extended spaces such as elevators or ship cabins. At only a few places in the world – one is
periods of time in spaces that don’t receive approximately €40,000 for each skylight the IdeaWorks Experience Centre in
natural sunlight. The idea is that the natural plus €10,000 for transportation and central London. To enjoy this simplest
daylight effect of CoeLux will encourage the installation, CoeLux will almost certainly be of experiential pleasures you can get
circadian rhythm that can be disrupted by used only in ultra high-end developments. in touch with IdeaWorks directly for an
spending days indoors without daylight. Touching on the light-art tradition, appointment-only visit to their showroom.
Because of these potential benefits, the CoeLux is reminiscent of James Turell’s A room illuminated by a CoeLux 45 solution
CoeLux research project was awarded installations, in particular ‘space that sees’ will also be on display at the Euroscience
€2.5m in funding from the European Union or ‘Deer Shelter’, part of his ‘Skyspace’ Open Forum in Copenhagen and at the
under the 7th Framework Programme. series, where he creates an architectural Architecture Exhibition of la Biennale di
Michael Jennings, spokesperson for space with an aperture in the ceiling that Venezia this year.
European Research, Innovation and Science serves to frame the sky. In doing so he www.coelux.com
Commissioner Máire Geoghegan-Quinn, creates a space where visitors can meditate
said: “Many areas of our lives - from energy, on the innate beauty of the seemingly
transportation, medicine, food safety, infinite blue sky.
health and well-being - are being enhanced It also recalls Olufur Elliason’s 2003
and even revolutionised by nanotechnology. weather project at Tate Modern in London, Jonathan Morgan is an associate at David
CoeLux is a great example of how science in which hundreds of visitors basked in Morgan Associates, a London-based
can turn a simple idea that is difficult to the glow of an enormous artificial sun. A international design consultancy specialising
achieve – replicating sunlight – into a reality. year before that, Di Trapani himself was in luminaire design and development.
It clearly has huge potential to make a involved in an art exhibition in Como, design@dmadesign.co.uk
difference in people’s lives.” Italy. In ‘Di Luce in Luce’ Trapani and www.dmadesign.co.uk
Part functional light source, part light- others ‘reconstructed nature within a
art installation, it has a utopian and gallery, reproducing spectacular optical © David Morgan Associates 2014
146 TECHNOLOGY / LIGHTING CONTROL 000

The new buzz word is Smart or Intelligent Lighting but don’t get caught up in the hype of
wireless this or App that as your lighting schemes could turn into a nightmare and your
clients could land you in court!

SMART LIGHTING -
WHY YOU NEED AN EXPERT

At Light + Building earlier this year I heard someone did switch off the lights “its not The most popular by far across all sectors
so many companies discuss how they now the end of the world”. I usually respond is standard Ethernet in the forms of
have an intelligent lighting system and they by saying that if the client had just had both wired and wireless (WI-FI) and is
have a great solution that will allow full their beautiful lighting scheme installed used extensively from the router in most
control of lighting, offer a variety of sensor and then five lights were not working homes to industrial and commercial
systems and that can easily be retrofitted on day one, would they complain? Then, IT systems, PCs or Tablets. Thus, my
using wireless technology so reducing on day five another four lights stopped recommendation is that any system
costs drastically. It seemed too good to be working and so on what would they do? In moving forward should be based on
true and unfortunately it is proved to be other words, how would they know if the Ethernet hardware avoiding conversions
as many of those eager and trusted sales lighting was working in a smart lighting from one protocol to another as that is
teams don’t fully understand the pitfalls of system or if it had been compromised. where security issues always creep in.
the technology and its ramifications. And Having reviewed the majority of possible For example, if you look at the recent
here lies the problem of the current ‘smart control protocols and means for transferring security issue (which has now been patched)
lighting’ industry – an unskilled workforce data to devices, the conclusion I have of the LIFX bulb, the system converts
that do not understand IT and security! come to is that smart lighting systems from standard Ethernet into a 6LoWPAN
This month I will give a crash course should be built on standard IT based mesh network and therefore created a
on what to ask your potential suppliers hardware infrastructure for the reasons security weakness. More information about
when clients ask for smart lighting stated in the Table (above right). the weakness can be found at http://
systems and how you need to make securityaffairs.co/wordpress/26475/
sure you have yourself covered. There are a raft of standard hardware hacking/hacking-lifx-smart-led-light-
control standards such as: bulbs-steal-wifi-passwords.html
LIGHTING NETWORK SECURITY • Ethernet – TCP/IP (wired and WI-FI)
Unfortunately, when I have recently • Z-wave WIRELESS NETWORKING
spoken at events on Smart Lighting or • Zigbee The dark art of Wireless networking is
advised several blue chip clients in a • Power Line Control spouted as the saviour of retrofit lighting
consulting capacity, they place Lighting • 6LoWPAN projects but careful planning is required to
Security very low down their list of project • Bluetooth deliver a robust wireless control system.
priorities. Even after explaining what could • DALI/DSI For residential controlled lamps from LG,
easily happen if the lighting system was • DMX/RDM OSRAM, Samsung, LIFX and Philips, the
compromised by an outside actor (ie; a • KNX (wired and RF) system doesn’t have to be completely
hacker) then the usual response is that • And many more glitch free as many of these products
lighting isn’t that important so even if connect to the bulbs from a mobile
000 147

Standard IT Hardware Bespoke/Proprietary Hardware

Skills requirements Low Skill requirements Medium to High
• Electricians know how to wire Cat 5/6 and RJ45 sockets • May need bespoke wiring or routing
Hardware Easily Available Poor Availability of Hardware
• Equipment widely available from a large IT supply chain • Equipment is bespoke so only available from one manufacturer
• Low lead times • Long lead times if not in stock
Exceptionally Low Cost High Costs
• A large IT supply chain means costs are minimised • Locked into a bespoke system with minimal/no supply chain
High Security Uncertain Security
• Majority of IT department understand basic network security • Bespoke systems usually have unknown security flaws
• Security built in to Hardware as standard • System details are kept secret by manufacturers so allow flaws to
be exploited
Defined Standards Non standard
• IT systems are based around international standard for hardware • System will be bespoke and so isn’t based around specific
and security standards

device using a gateway. However, for all All nodes cooperate in the distribution • Place security as your number one
non-residential applications, robust and of data in the network. There are many priority for all smart lighting systems;
secure systems need to be deployed. advantages and disadvantages to Mesh • Don’t get fobbed off by suppliers
As a form of electromagnetic radiation, like networks. However Zigbee and 6LoWPAN stating their system uses key
light waves, radio waves are affected by systems both use wireless mesh networking. encryption;
the phenomena of reflection, refraction, An issue with Mesh networks (ie; Zigbee • Ask your supplier what IT support
diffraction, absorption, polarisation and and 6LoWPAN) is symmetrical key they provide for updating the system
scattering, which makes their deployment encryption whereby each node uses the with security patches etc. They
in real world situations highly dependant same private keys to be able to relay data. will be needed at some point;
on the environment around it. This was the exploitation used with LIFX • If your control system uses an App
In free space, all radio waves obey the as the private key was recovered from then ask to be shown the proof of
inverse-square law that states that listening to the Wireless network using end-to-end encryption and get it
the power density of the radio wave is free WI-FI tools such as Wireshark. Once authenticated because if you just
proportional to the inverse of the square of the key had been obtained the intruder run the App with login there is no
the distance from a point source so doubling could effectively control each node! security between the mobile device
the distance from a transmitter means that Therefore, if you want to deploy and your control system.
the power density of the radiated wave at smart lighting systems in the future
that new location is reduced to one-quarter follow this very simple set of rules: My warning is that the above advice
of its previous value. In other words, the only touches the surface of what
further away your PC is from your Hub • Choose a partner that understands you will need to ask. If you incur any
the poorer the signal is and the more IT security as well as lighting; issues then drop me an email.
errors and lower data speeds achieved. • Try to avoid control systems that g.archenhold@mondiale.co.uk
In addition, the frequency that you transmit don’t use Ethernet technologies;
also effects the robustness of the system • Try to avoid systems that Geoff Archenhold is an active investor
so the lower the frequency the easier it use Mesh topologies; in LED driver and fixture manufacturers
is for the wireless to travel through brick • Avoid wireless solutions where and a lighting energy consultant.
and stone and, as the frequency rises, possible. Minimise WI-FI to user control
absorption effects become more important. and use wired control where possible; The views expressed in this article are
To overcome this issue, mesh networking • If you do need wireless then use those of the author and do not necessarily
was created which is a network topology WI-FI for standard encryption; represent the views of mondo*arc.
where each node or light fixture (called a • If using private key encryption then
mesh node) relays data for the network. use a minimum of 2048-bit keys;
148 TECHNOLOGY / LIGHTING CONTROL PRODUCT GUIDE

SMART ALECS
A selection of the latest connected lighting and control solutions.

Wireless Light Control

Casambi

Connected Lighting
Philips
Lifx This system uses Power-over-Ethernet
(PoE) to connect office lighting fixtures
Havells Sylvania to a building’s IT network. The lighting
Whether it is to add a beautiful splash system acts as an information pathway,
This wireless controller is designed to of colour to create moods or scenes enabling workers to control and access
be a practical system for luminaire in a room, or be it to find the right other building services via their smart-
manufacturers and lighting designers. white light to meet your needs, LIFX phones, allowing them to enjoy greater
By simply and easily installing this small offers users an astonishing 16 million visual comfort and productivity. The
unit into a luminaire, it will act to colours at their fingertips and allows office lighting fixtures, when outfitted
support 1-10V / Dali and light controls a variety of different scenes to be set with sensors, are able to capture anon-
for a nearly unlimited number of lights to suit moods and tasks. Using a free ymous data on room occupancy, tem-
and intelligent scene controls. No new App in iOS and Android versions, users perature and humidity. They connect
wiring or additional controllers are can control the colour, brightness and to the IT network and interface with
needed. While supporting wall switch- dimming levels of their LIFX lamps as other building systems such as heating,
es, all major smartphones and tablets well as create scenes. The new Music ventilation and IT services.
are the perfect tools to be used with Visualiser enables the lights to interact www.philips.co.uk
this product. with music being played.
www.casambi.com www.havells-sylvania.com

Lightify
Osram
Ingenium Blu Lightify enables users to exploit a
Megaman wide range of lighting possibilities
using an app on a smartphone or
tablet. Lightify simply integrates into
existing WLAN networks, and users
AOne Control are able to set a wide diversity of
light atmospheres. Lightify enables
Aurora living rooms and workrooms as well as
Aurora is providing individually, con- balconies and gardens to be bathed in a
trollable luminaires with its patented, wide variety of light atmospheres using
wireless AONE control module designed a smartphone or tablet. The scenes
to integrate with a wide range of can be freely configured and also
Ingenium Blue is the easiest and most
third-party lighting control and smart controlled while on the move.
economical solution for those looking to
home systems. It provides in-line, two- www.osram.co.uk
introduce smart lighting to their house
way communication directly to each
or commercial space. It offers plug-
light source, received over wireless
and-play installation with the compat-
protocols and PLC (Power Line Commu-
ible Megaman LED PAR16, Classic and
nication) from the module to our hybrid
Integrated Downlight. More interesting-
IC technology inside the latest range
ly for the professional market, Inge-
of Aurora luminaires. AONE control
nium RF is a scalable solution offering
modules are capable of bi-directional
complete control of any Megaman LED,
communication providing real-time
either locally using a handheld control-
feedback and historical data on the
ler, or from anywhere in the world via
luminaire’s activity.
your smart device.
www.auroralighting.com
www.megamanuk.com
150 TECHNOLOGY / LIGHTING CONTROL PRODUCT GUIDE

Lumentalk
Unison Echo
Lumenpulse
ETC Lumentalk is a patented technology
ETC’s new Unison Echo control for that enables digital control of LED
smaller applications without the need lighting over existing AC power lines,
for advanced configuration. Ready to reducing installation costs and facilitat-
use straight out of the box, it is perfect ing the conversion to LED lighting. With
for small and medium sized venues Lumentalk, electrical wiring becomes a
like restaurants, museums, theatres WiFi-Controller stable, noise-free, high-speed commu-
and meeting rooms, and can be used in nications link, enabling LED fixtures to
HERA be controlled without additional wiring
conjunction with energy saving devices
WiFi Light Control System allows for data. The technology is protocol in-
such as vacancy, occupancy and light
users to control light any way that is dependent, making it compatible with
sensors. Unison Paradigm remains the
required. Special features include an common dimmer and control standards
company’s flagship building control sys-
easy plug-in connection for new or ex- such as Triac, 0-10V, DALI, DMX and ELV.
tem, providing powerful programmable
isting installations, the product is also Pictured is the Blatnik Bridge in Wiscon-
control for large theatres, conference
controllable with tablets and every iOS sin, which used Lumentalk to limit the
centres, office buildings and theme
or Android smartphone, while offering amount of wiring and labour required
parks.
free of charge Hera-APP. The product is to modernize the lighting system
www.etcconnect.com
available for single colour, dynamic and www.lumenpulse.com
RGB lighting and colour, scene, speed
and brightness can all be controlled.
This is applicable as a stand-alone-sys-
tem without an existing WiFi system
and an unlimited number of controllers
can be used.
www.hera-online.de

iLight
Eaton
Eaton’s architectural lighting controls
product line, iLight builds on its estab- DMX/RDM Driver Dimmer
lished transistor dimming technology
with the latest SCLED electronic dim-
Illumination Physics
mers. Featuring silent operation and no 12 individual remote fixtures (or groups
minimum load, these dimmers have been of fixtures), can be driven from this
tested and have proved compatible with a driver. The driver is also configurable
wide range of mains dimmable LEDs. Each to suit different applications. There
channel can be set individually for leading are four modes of colour - white mode,
or trailing edge operation making them a mono colour, colour and white mode,
universal choice. RGB Mode, RGB + White Mode. The
www.iLight.co.uk/scled driver can be set to control a variety of
LED fixtures using up to four different
coloured LEDs per unit. The driver pow-
er is configurable to supply constant
This flexible and scalable e:cue ETH2DALI
ETH2DALI and LAS 7.0 control engine integrates both functional
current in 350mA, 500mA and 700mA.
This allows the driver to address a
and dynamic lighting with state-of-the-
e:cue variety of luminaire designs for High
art control capability. Taking the best
Power LED products. This driver is also
out of the DALI world and adding DMX512
powerful – up to 500 watts may be used
capabilities, ETH2DALI bridges the gap
in any one configuration. The RDM ca-
between general lighting and creative
pability allows remote configuration.
lighting effects. Remote control is easy
www.illuminationphysics.com
via the upgraded Lighting Application
Suite (LAS) 7.0, or the intuitive and fully
customisable Action Pad App. ETH2DALI,
together with LAS7.0, provides the ideal
lighting control systems for retail shops,
offices and hospitality projects.
www.traxontechnologies.com
152 TECHNOLOGY / LIGHTING CONTROL PRODUCT GUIDE

Pulsar DataSplitter DS8 iDrive

Pulsar IST Lighting
The feature- packed Ethernet/DMX/
The Pulsar DataSplitter is our most DALI iDrive Force 12 significantly reduc-
flexible data transmission solution ever, es installation and commissioning costs
now equipped with a mix of 4 XLR3 and by combining the dimming controller,
4 XLR5 connectors in a compact 1U rack power supply and LED driver within one
or truss mountable design. The unit integrated unit. Capable of controlling
splits any input signal into 8 identical 12 independent output channels at
channels extending range and reducing configurable LED currents, the iDrive®
data error over long distances. Each Force 12 boasts the widest ever range
output is fully isolated and protect-
ed against mains surges and can be
LITECOM of dimming control protocols (DALI,
DMX, DSI, RDM, Art-Net3 and sACN). Its
powered from a low voltage DC supply Zumtobel compact size means it can be installed
or standard mains input. Designed for within ceiling spaces or remote from
DMX but compatible with compatible LITECOM reduces control processes to a
the fixtures and is fully compatible
with signals ranging from DC to 500kHz, minimum and enables convenient user
with the wireless iMune control system.
DataSplitter features bombproof reli- prompting and intuitive operation by us-
www.istl.com
ability at a cost-effective price. ing apps. The linking of controller, touch
www.pulsarlight.com panel and software in an open system is
one new feature. This makes it possible
to create, control and monitor fully
customised lighting solutions – from any
PC, smartphone or tablet.
www.zumtobel.com

LPSA-WIFI Stand Alone

interface
Chromateq
LPSA-WIFI Stand Alone interface is the XAL LC
ideal for fixed installation and archi-
XAL
tectural projects. A complete ethernet
compatible Wifi (802.11 b/g/n) to With XAL Lighting Control an entire
DMX interface was created that can lighting system is placed in the users
communicate on any standard local hands. The product enables users
network. It also includes a powerful to control luminaires directly via an
Stand Alone mode to playback scenes Pyng iPhone/iPad. Adjust your luminaires’
without a computer and trigger scenes Crestron brightness, colour and light tempera-
scheduled by time or calendar. The ture to every situation possible. Add
The Crestron Pyng is an app that is also
interface is Windows and Mac Os X individual luminaires to groups and
a home automation system in an app.
systems conpatable and has FCC and CE scenes and thus make it easier to
For years, home automation apps have
certification. It can be commanded by quickly control them by merely moving
been add-ons to control systems that
the Wi-Light application for all Android a finger. Save your personal settings in
are programmed using computers. Now,
and iOS phones and tablets easily databases and transfer them to another
technology integrators can create life-
(scene trigger + speed, dimmer, colour, iOS-device in seconds.
style scenes for each room, schedule
pause controls). www.xal.com
events, and much more right from an
www.chromateq.com iPad. The whole house can be ready in
minutes without ever opening a laptop.
Accessories include Crestron wireless
lighting controls, thermostats, as well
as security systems. A compact hub
connects accessories with the app, runs
scenes and events even without the
presence of an iPad and continuously
backs up all home settings to the cloud
– so making changes is easy and secure.
www.crestron.eu
 ETC WEATHER REPORT
Take the lights you love outdoors
Great lighting will never get rained out, thanks to ETC’s range
of durable luminaires that are IP66 rated for all-weather use:
from Selador Desire wash lights with flexible x7 colour arrays
and amazing colour control, to razor-sharp Source Four XT
ellipsoidal zoom spots.

For details, take a look at www.etcconnect.com or contact

your dealer for a demonstration.

Americas n Europe n Asia n www.etcconnect.com

Pool Lighting.

Project: Hotel Amanzoe, Greece

Spotlight 4.0012
1 POW-LED
2 Watt 6.000K
Stainless Steel
IP68

WIBRE Elektrogeräte GmbH & Co. KG interlight

MOSCOW
info@wibre.de Made in Germany. Since 1919.
Stand 2.E91
+49(0)7131 9053-0 www.wibre.de
11. – 14. November 2014
Leingarten/Germany Moskau IEC

Anzeige_210x150.indd 1 24.09.14 13:39

154 TECHNOLOGY / LIGHTING CONTROL PRODUCT GUIDE

Minos System
Ghenos
Thanks to its innovative technological
solutions, Minos turns the outdoor light-
ing in a new smart grid system. The
street lamp becomes a new support
able to integrate and activate a wide
range of services to improve the quality
of life and make the City more smart,
safe and eco sustainable. Minos is the
system that changes the management
Halcyon Professional and use of outdoor lighting grids. It
Photon Star allows you to constantly monitor sys-
tems’ status, obtain details of failures
The ‘Halcyon Professional’ range
in real time, and decide with flexibility
integrates the PhotonStar portfolio of
when, where and how much you wish EasyRemote
performance LED downlights with their
proprietary technology ‘Halcyon’, a
to switch on, switch off or dim every Nicolaudie
unit.
connected lighting platform, to provide EasyRemote allows you to create an
www.ghenos.net
wirelessly controlled, circadian, retro- entirely customised remote controller
fit LED lighting solutions for the profes- for your tablet or smartphone. It is a
sional lighting and technology markets. powerful and intuitive app allowing you
The range will be the first to offer cir- to easily add buttons, faders, colour
cadian lighting control, which emulates wheels and more. The app can control
natural daylight to enable healthier and the ESA2 and Sunlite Suite 2 software.
more productive environments, and is It’s also capable of controlling our Eth-
providing new possibilities in technol- ernet enabled stand alone controllers.
ogy based on circadian, energy-saving Connect to a WiFi network and the app
and data-centric applications. will find all compatible devices.
www.photonstarlighting.co.uk www.nicolaudie.com

StrongPlayer
StrongLED
StrongPlayer is a LED syn-
chronous real-time Media
Player software developed
by StrongLED. It is able to
map each luminaire site
into a pixel location on pChrono
the display monitor of the
Arianna LED
main controller. The media
playing on the display pChrono is the innovative solution that
monitor is also, on re- manages each single lighting fixture
al-time, playing on the LED luminaires at site. The powerful software is equipped with and combines in one control sen-
a user-friendly and intuitive graphic interface and easily operated by a non-technical sors, dimming, daylight-linking, time
person. StrongPlayerTM supports most of the media formats (MPEG, MPV, AVI, SWF, RM, scheduler. A smart and reliable system
RA, RMJ, ASF, etc) and graph files (BMP, JPG, GIF, PCX, etc). It also supports Microsoft that integrates temperature, humidity
Word, Powerpoint, Access, VCD/DVD media and plug-in external media sources. and air control sensors for a unique
www.strongled.com and comprehensive monitoring. It is
available as wired or wireless. pChrono
has specific algorithm to manage ON/
OFF loads and offers the possibility to
monitor and control single-phase loads
with a smart-plug wireless.
www.ariannaled.com
 Tel 44 ( 0 ) 208 348 9003
Web www.radiantlights.co.uk
email david@radiantlights.co.uk

3D LED Flex 100 system Heydar Aliyev Centre Auditorium, Baku

Up to 6,000 Lumens per mtr Architect Zaha Hadid Associates
System adjusts on site to follow complex cove profiles Lighting design MBLD

Design by

Mondo August 2014 half page.indd 1 7/30/2014 9:48:19 AM

156 TECHNOLOGY / NEW PRODUCTS

GET UP TO DATE
A selection of new products available now.

Xooline
LED Linear
With a light output of up to 3,895 lm/m
from a smallest form factor of 19.5mm
5727-Alicante Jasper LED x 15mm, this NGL 2014 recognised
LEC Lyon Ligman
luminaire comes with a clear, diffuse
or opal cover and 10° wall grazing and
An innovative product which is able The Jasper range of indoor directional 30° or 60° general lighting optics. The
to up-light a whole surface: top and downlights feature high quality LEDs possibility of choosing different power
bottom, at the same time. LEC’s new that make this a useful solution for ratings between five and 36 W/m in
eco-designed ground-embedded LED lighting design applications. Glare combination with the efficiency of
spotlight offers two adjustable plates control is taken into consideration with latest generation LEDs and high-perfor-
that rotate at 360°. Both plates enable a soft lighting effect being created mance optics makes this luminaire suit-
adjustable angles at more or less 25° via the controlled lens. Key features able for a wide range of applications in
with no water-tightness failure. The include variable sizes with a different both indoor and outdoor use.
5727-Alicante offers homogeneous range of wattages and colour tempera- www.led-linear.com
lighting over a whole surface. It fea- tures available in 2700K,3000K, 3500K,
tures two separate external plates, 4000K and 5000K with CRI output of
these include nine Superwatt LED on >80. Various dimming requirements
each of them, which can be controlled such as 0-10V, Trailing edge and DALI
by DMX or DALI. are offered.
www.lec-lyon.com www.ligmanlighting.com/en

xcene
LUXINTEC
xcene is a versatile high performance
LED spotlight, as it enables accent
lighting, extensive lighting or wall-
washing with a single luminaire. This
is achieved thanks to the possibility to
incorporate one or two light sources
with independent orientation. It allows
Sento LED Moodspot
important advantages in technical
lighting projects. Occhio TDE-lighttech
www.luxintec.com The Moodspot is designed to dynami-
Sento is a multifunctional, innovative
light tool, with a precise quality of cally alter the emotional experience
light imaging created by the interplay of a space. Its glare free beam allows
of next generation LEDs. Luminaire colour temperate control, ranging from
heads with light emission on one or a white (4000K) to a very warm white
both sides, changeable optical inserts (1400K). Due to the specially developed
for individual lighting effects and a and integrated LED driver, the Mood-
choice of LED light colours enable spot dims fluently down to 0%. Multiple
users to coordinate the lighting to suit. beam angles and body versions ensure
The product also offers strong colour a versatile and extremely option-rich
rendering properties (a CRI of 95) and luminaire, which is well suited for a
high efficiency. wide range of applications.
www.occhio.de/en www.tde-lighttech.nl
 Look
forward
to some

The Sleep Set The Exhibition The Sleep Conference

Exclusive design collaborations Source from the most With a line up that includes
creating fully-functional hotel famous names in hotel design, Jeremy King, Werner Aisslinger,
suites - previous participants hand-picked for Sleep, including Glenn Pushelberg, Sören Hulberg,
include Nous Design, Lasvit, Designheure, Grohe, Asli Kutlucan and George Yabu,
Purpose Design, ABB/Busch-Jaeger, Pergo, join the leaders and influencers in
Scott Brownrigg and Walker Greenbank, Drapilux, hotel design to debate, challenge
Wilmott Dixon. Sleep Set is Hansgrohe, Orangebox, and network.
the design competition with a Saint Gobain and Dare Studio.
revelation of the hotels
of tomorrow.

Be part of something special, register today:

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(Please quote promo code SLP22)

@sleepevent

Headline sponsor Official media partner Official partner Organised by

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Sleep2014_333x236+3mm_v4.indd 1 23/09/2014 13:52

158 TECHNOLOGY / NEW PRODUCTS

Capix Unity Rol•ls

Zumtobel Concord Insta
Instalight Rol•ls is a linear suspended,
wall or ceiling luminaire in two lengths.
The white satined acrylic glass diffusor
is backlit by means of the Ledlux LS
family, providing for the homogenuous
illumination of reception areas, corri-
dors and staircases.
www.lightment.insta.de
Like a second skin, the Capix evolution
LED matrix clings to a façade. This
Unity can be configured to create
media luminaire offers flexibility in the
varied overhead lighting patterns in
illumination of buildings and objects
triangular, square, rectangular and
thanks to its two different batwing
straight run formations, including a
lenses (140° and 155°). Installation
change in level such as stairwells. Avail-
has been made easier, requiring only
able in 1.2m, 2.4m and 3.6m lengths,
one data line and one supply line, so
Unity comes in both white and silver
that it can now be installed virtually
finishes. Horizontal and vertical cou-
anywhere. Each Capix pixel incorpo-
plers are available to manipulate Unity
rates three latest-generation RGB LEDs,
into precise configurations, perfect for
which results in a bright and brilliant
applications where space is limited.
lighting effect even when viewed from
The new mid-power LED technology
long distances.
housed within Unity, has allowed for
www.zumtobel.com
the creation of a compact form factor
which is also highly-efficient.
www.havells-sylvania.com

ADVERTISERS INDEX
Anolis.................................................. 97 Lamp ................................................ 163 Philips................................................. 27
Applelec........................................... 105 LEC-Lyon.................................. 137, 159 PLDC.................................................. 76
Atex.................................................... 69 Leccor............................................... 113 Pulsar.................................................. 39
Aurora................................................ 6-7 LED Linear........................................ 164 Recolight.......................................... 111
Bega................................................... 23 Lee Filters .......................................... 99 Recom Power................................... 151
CLS..................................................... 10 Light Middle East................................. 8 Remote Controlled Lighting............. 123
David Morgan Associates................. 155 Lightgraphix....................................... 14 Rising Dragon Technology................. 16
Delta Lighting................................... 159 Ligman................................................ 12 Roxo Lighting..................................... 53
Dial..................................................... 57
Lucent................................................. 29 SAT................................................... 111
ERCO.................................................. 21
Lucifer................................................. 51 Schréder............................................... 9
ETC................................................... 153
Lumenpulse........................................ 33 Signcomplex..................................... 141
Fuhua Electronic .............................. 113
Luxintec............................................ 119 Sleep Event...................................... 157
Griven................................................. 19
Macron............................................. 119 SLL...................................................... 43
Harvard............................................... 15
Martin................................................. 93 Speirs & Major.................................. 159
Havells-Sylvania.................................. 63
Huda Lighting................................... 107 May Design Series......................... 54-55 StrongLed........................................... 75
IALD.................................................. 127 MBN................................................... 91 Studio Due......................................... 17
Illumination Physics........................... 4-5 Middle East Lighting Summit .......... 149 Teknolight........................................... 13
Innermost......................................... 159 Neo-Neon........................................ 137 Traxon & e:cue.................................. 117
Insta.................................................... 73 Neonlite.............................................. 89 Unilamp............................................ 135
Intralux................................................ 61 Nexo Luce.......................................... 67 WAC Lighting..................................... 41
ISTL................................................... 155 Nicolaudie.......................................... 11 Wibre................................................ 153
KKDC.................................................. 35 Occhio................................................ 25 Wuxi Jinshun Lighting...................... 125
Kopa Global..................................... 113 Orlight.................................................. 2 XAL....................................................... 3

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON.

TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
The US annual subscription price is USD105. Airfreight and mailing in the USA by agent named Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor,
Jamaica, NY 11434, USA. Periodicals postage pending at Jamaica NY 11431.
US Postmaster: Send address changes to mondo*arc, C/O Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA.
Delta Lighting Solutions, an award winning lighting design consultancy
based in Dubai is seeking creative and enthusiastic designers to join our
international design team.

Design Director (London)

Candidates should have a University Degree either in Architecture and / or
lighting design and a minimum of 15 years of experience in lighting design
in London. Candidates must have worked on a broad spectrum of projects
and show strong experience in managing projects and design teams.
Candidates must be all rounded individuals with a strong flair for design,
organization skills, people management skills and business acumen. The
position will require regular travel.

The package offered will include a very competitive annual package plus a
bonus based on yearly profits.

Senior Lighting Designers (Dubai)

Candidates should have a University degree – either in Architecture, Inte-
rior Design, Lighting Design or Product Design and a minimum of 10 years
of lighting design experience. Candidates must have strong organizational
skills, project management experience and should be highly creative with a
passion for design.

Yearly package offered will range from 240,000 AED / $65,000 to 275,000
AED / $75,000 per year. Please note that no income tax is payable by UAE
law.

Please send you CV and portfolio to:

Ziad Fattouh, ziad@deltalighting.ae and patricia@deltalighting.ae
www.deltalightingdesign.com

Contract Sales Consultant

Innermost are seeking a Contract Sales Consultant to join our
Speirs + Major is an award winning design practice that uses London Office, to work with architects and interior designers
light to enhance the experience of the visual environment. on a range of projects in the UK and internationally.

We are recruiting for: In this role you will be expected to grow our contract customer
base to meet sales targets, develop relationships with new and
Assistant Designers – London existing customers, providing them with a quality,
Assistant Designer Internship – Edinburgh knowledgeable and efficient service, as well as securing new
orders and project managing them effectively through to
Applications should be made in writing and include samples delivery.
of work that demonstrate both your passion for light and your
thinking and ability to communicate light through a range of You will have a minimum of 5 years contract sales experience
media. in the same or related industry, a strong knowledge of
contemporary lighting and furniture, the highest levels of
On application please illustrate your ability to hand sketch and professionalism, exceptional communication and
experience in using Photoshop, AutoCAD and 3D software.
organisational skills.
Previous experience of lighting design is preferred but not
essential. Salary and benefits will be commensurate with Remuneration package will reflect level of experience.
ability and experience.
With our ambitious growth plans this is a fantastic opportunity
Applications should be sent to: for an enthusiastic and proven sales­focused individual.
opportunities@speirsandmajor.com
Please email a cover letter stating why you should get the
Strictly no agencies. Speirs + Major are an equal opportunities position with your CV to contractsales@innermost.net
employer.
www.innermost.net
EVENT CALENDAR
sponsored by
Illuminotronica Strategies In Light Europe IALD Enlighten Europe Maison & Objet
October 9-11 October 21-23 November 9-11 January 23-27
Padova, Italy Munich, Germany Berlin, Germany Paris, France
www.illuminotronica.it www.sileurope.com www.iald.org www.maison-objet.com

Index Guzhen International Lighting Fair Interlight Moscow Northern Light Fair
October 9-12 October 22–26 November 11-14 February 3-7
Mumbai, India Guangdong, China Moscow, Russia Stockholm, Sweden
www.ubmindexfairs.com/ en.gzlightingfair.com www.interlight.messefrankfurt.ru www.northernlightfair.com

ForumLED Hong Kong International Lighting Fair LuxLive Integrated Systems Europe
October 14-15 October 27-30 November 19-20 February 10-12
Paris, France Hong Kong London, UK Amsterdam, The Netherlands
www.forumled.com www.hktdc.com www.luxlive.co.uk www.iseurope.org

ALEEX Lighting Kazakhstan Media Architecture Biennale LEDucation

October 14-17 October 28-30 November 19-22 March 5-6
Guangzhou, China Almaty, Kazakhstan Aarhus, Denmark New York, USA
www.aleex.cn www.powerexpo.kz www.mab14.mediaarchitecture.org www.leducation.org

IALD Enlighten Americas Light Middle East Middle East Smart Lighting Summit Euroluce
October 16-18 November 3-5 November 24-25 April 14-19
San Diego, USA Dubai, UAE Abu Dhabi, UAE Milan, Italy
www.iald.org www.lightme.net www.lightingsummit.com www.cosmit.it/en/euroluce

Interieur EILD darc night launch May Design Series

October 17-26 November 5-7 January May 17-19
Kortrijk, Belgium Medellin, Colombia London, UK London, UK
www.interieur.be www.eild.org www.mondoarc.com www.maydesignseries.com
162 NSPIRATIONS / #27 LIGHTHOUSE DESIGN CURATED BY

This back page comes courtesy of designers working in hotter climes than our own: Augusto Bastos
Ramalhão of Portugal and Mariana Novaes of Brazil who together form Lighthouse Design - LHD,
a collaboration created after meeting at the ‘hothouse’ of lighting design, KTH’s Lighting Laboratory
in Stockholm. LHD have chosen to depict the idea that our subjective experience of light leads
to transcendence or can be a vehicle for promoting change within a person. “Here we try to make this
message literal, as in entering a light vortex. Lighting may be metaphorical and it is from the extraction of
meaning during an experience with light that new worlds are presented to us. This is akin to ‘revelation’
or ‘enlightenment’ and for us the ultimate reason why light has such connotation. Our purpose and
inspiration is to create works that emphasise this inner motion between, before and after a given light
experience, as we believe a person is never the same, or will never see a space the same way, after
a spacial lighting experience.”

www.lightcollective.net
lighthouse.design@yandex.com
 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