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101 DEC/JAN 2017/18

Jean Nouvel, 8’18” and BuroHappold create
a stunning scheme for Louvre Abu Dhabi

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The Paranormal Unicorn
We find out more about the ‘audio-
visual artist collective’ making a
name for itself in the lighting design

Contents 072 Martin Klaasen

Robert Such catches up with lighting designer Martin Klaasen to discuss
his long and distinguished career, and his focus on education.

DEC/JAN 2017/18 138 The Perfect Light

At the start of this year, Light Collective began work on a documentary,
capturing the thoughts of 22 leading lighting designers in their quest for
024 Editorial Comment ‘the perfect light’.
026 Headlines
028 Eye Opener 142 Lights in Alingsås
The seventeenth edition of Lights in Alingsås took over the small
030 Drawing Board
Swedish town, illuminating the streets and allowing visitors to
036 Spotlight experience an array of emotions through light.
044 Snapshot
046 Briefing 150 IALD Enlighten Americas
This year’s IALD Enlighten Americas brought lighting designers,
148 IALD Column
manufacturers and students to Denver for a celebration of light.
166 Event Diary
170 Inspirations 152 PLDC
A look back at some of the antics and highlights from PLDC 2017, held
in Paris.

158 Product Review

David Morgan examines Soraa’s newest line of luminaires, the ARC
accent range

160 Light Middle East

A round up of the latest products on show at Light Middle East, along
with a look back at the successful Light.ication 2.0.

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Louvre Abu Dhabi, UAE
Designed by French architect Jean
Nouvel with lighting design from 8’18”
and daylighting by BuroHappold,
the Louvre Abu Dhabi has created a
buzz of excitement since opening in
November, and for good reason.

080 Workspace Lighting
Benz Rooz, Senior Lighting Designer at Speirs + Major, discusses
illumination in the workspace, including the firm’s own work at Rogers

DEC/JAN 2017/18 Stirk Harbour + Partners, which utilised Spectral Iris fixtures.

082 Havenhuis, Belgium

Zaha Hadid Architects merge old and new in this juxtaposing creation,
with lighting design by Ingenium and Inverse.

092 ING Bank, UK

The new interior lighting design for the ING Bank UK London office,
designed by Nulty, blends the old and the new, bringing a modern flair
while delicately illuminating the fine art on display.

106 Plexal Technology Innovation Centre, UK

Located at Here East in Queen Elizabeth Olympic Park, Plexal’s
innovation centre has been given a dynamic new lighting scheme,
courtesy of Cundall Light4.

114 Wiley Publishing, USA

One Lux Studio has created a new lighting scheme for Wiley Publishing’s
newly renovated headquarters, utilising both direct and indirect light to
open up a formerly dark, enclosed space.

122 Workspace Lighting case studies

A look at a number of impressive workspace lighting schemes, including
arc magazine’s very own offices.

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Room for 101?

Front cover: Louvre Abu Dhabi
Thank you for all your positive
feedback regarding the 100th
Photograph: Roland Halbe


issue of arc magazine. We’re

Publisher / Editor
Paul James

Assistant Editor

happy that you liked it…

Matt Waring

Editorial Assistant
Sarah Cullen

International Advertising Manager We’re delighted that the 101st issue of arc is the first lighting
Jason Pennington publication to cover the latest international mega-project, Louvre

International Advertising Sales

Abu Dhabi.
Andy White Located on Saadiyat Island, Abu Dhabi’s planned cultural centre, the
museum was inaugurated on November 8th. We worked fast to speak
Steven Willcox to the main protagonists - Jean Nouvel, 8’18” and BuroHappold - to
bring you an insight into this amazing project.
It is a lesson in how to design a project of this scale properly. All
Moses Naeem three design teams worked closely together from the very early
stages with the lighting design process from 8’18” starting in 2007. A
decade later and the results are incredible. Perhaps the most pleasing
David Bell aspect from a lighting perspective is the way the artificial and natural
Mel Robinson lighting is integrated to produce a beautifully fluid piece of lighting
design. A difficult achievement when so many precious and delicate
Zoe Willcox artworks are being lit.
Another important aspect of lighting design is the illumination of
Chairman our workspaces. With 35% of your total waking hours being spent in
Damian Walsh
your place of work, the lighting of this environment is crucial to your
wellbeing and your productivity.
Finance Director Benz Roos, Senior Lighting Designer at Speirs + Major, offers an
Amanda Giles insight into the way he approaches illuminating a workspace arguing
that we should be moving away from illuminating desks to creating
Credit Control
interesting visual environments. That’s something we’ve tried to
Lynette Levi achieve in our own office with a new lighting scheme (p.122) that
arc media we’re very much enjoying.
Strawberry Studios, Watson Square
Stockport SK1 3AZ, United Kingdom
T: +44 (0)161 476 8350 * With the new look magazine, it was time for a change to the Back Page. Our resident curators, Light Collective, have decided to create a
Printed by Buxton Press new series: A Bucket List for Lighting Designers. You can help them
create an amazing selection of things, places, experiences etc., that
Annual Subscription rates:
United Kingdom £30.00 every lighting designer and lover of light should do before they die.
Europe £50.00
ROW £65.00 If you have something you think should be included, get in touch:
To subscribe visit
or call +44 (0)161 476 5580

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

Subscription records are maintained

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

We are the UK’s foremost designer of lighting solutions.

For over 30 years, our passion for developing and manufacturing energy
efficient products has seen us deliver our portfolio of lighting and
controls solutions to some of the UK’s most innovative businesses.

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Helvar in China distribution
agreement with Media-Go
(China) – Helvar has agreed an
exclusive distribution deal with the
Media-Go Group of Companies (Media-
Go) for supplying and supporting its
lighting intelligence products and
solutions in the Mainland China.

Delta Light expands global

network with new showroom
in London
(UK) – After opening a series of
exclusive showrooms in New York,
Moscow, Paris, Amsterdam, Milan,
Bogota, Saint Petersburg, Bangkok,
Miami and other design capitals, Delta
Light presents a brand new showroom
in the heart of London.

Seoul Semiconductor
receive low risk eye safety
certification for SunLike LED

3F Filippi acquires Targetti

(South Korea) – Seoul Semiconductor
have become the first company in the
world to receive the certification for its
natural light LED – SunLike.
(Italy) – Italian private equity firm Dea Capital sells Targetti to 3F Filippi making it one of the top five
lighting companies in Italy. (Pictured: 3F Filippi CEO Giovanni Bonazzi)
Philips launch new lighting
Read more on impact app
(Netherlands) – Philips Lighting and
SAP launch app that will enable tourist
boards and city authorities to measure
the social and economic impact of
illuminating city landmarks.

New Senior Vice President

Global Sales & Marketing at
(Austria) – Jörg Kessler has taken up
the position of Senior Vice President
(SVP) Global Sales & Marketing from
1st November. He takes over from
David Barnby, who will be taking
retirement at the end of the year.

‘Twisted’ light could

illuminate new path for
wireless communications
(UK) – Scientists have taken an
important step towards using ‘twisted’
light as a form of wireless, high-
capacity data transmission which could
make fibre-optics obsolete.

IALD Enlighten 2018 Calls for

(USA) – IALD is accepting presentations
Light Bureau joins ÅF Lighting for its 2018 Enlighten Americas and
Enlighten Europe events.

(UK) – Paul Traynor’s London and Oslo-based Light Bureau has joined ÅF Lighting, the specialist lighting
design business area of the ÅF Group.


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ADV_MondoArc_21.11.17.indd 1 21/11/17 14:56

Castleton, UK
Waterlicht, translated into English as ‘water light’, is a of the environment that tells the story of water on this
dream landscape created by visionary designer Daan ancient site, connecting to its rich geological history of
Roosegaarde that explores the power and poetry of tropical seas and glacial melt waters, while relating to
water. the present threats of flooding today.
Intended to create a ‘virtual flood’, Waterlicht mimics “Waterlicht is an inspiration for the future,” said
past or possible water levels with wavy lines of light, Roosegaarde. “There’s a mountain that is literally
created using the latest LED technology, software and perforated through the power of the water, hundreds
lenses, simulating the feeling of being underwater. In of years have created this beautiful curvature so even
doing so, it shows how vulnerable we are if we did not though it seems that water is something liquid, it’s
have human interventions to protect us. The result is a unstoppable.
mesmerising experience, which makes you aware of a “A lot of people will have to move because of rising
world that is changing. sea levels, a lot of places will disappear because of
The installation, first created for the Dutch District that. The world is changing and we have to design a
Water Board Rijn & Ijssel in 2015, was brought to the way out of it, we have to engineer our way out of it, it’s
UK for Abandon Normal Devices in September 2017. not going away by itself.”
Set in the dramatic v-shaped valley of Winnats Pass, Following its appearance at Abandon Normal Devices,
which acts as a gateway into Castleton and the Hope Waterlicht travels to Madrid, and then on to Zeeland, in
Valley, Waterlicht virtually floods the pass with light Roosegaarde’s home nation of the Netherlands.
and smoke. Soundscapes accompany the installation,
offering visitors a rich and layered sensory experience


Pic: Studio Roosegaarde 029
At the southernmost point of the Norwegian attract more marine life to its purified waters.
coastline by the village of Båly, Snøhetta has designed Muted lighting from the inside of the restaurant and
Europe’s very first underwater restaurant. With its installed on the seabed, designed by ÅF Lighting, will
immediate proximity with the forces of nature, the help stage the wildlife flourishing on the sandbank
restaurant, which will also function as a research outside the 11x4-metre panoramic acrylic window.
centre for marine life, is a tribute to the Norwegian The restaurant will also welcome interdisciplinary
coast and to Lindesnes – to the wild fauna of the sea research teams studying marine biology and fish
and to the rocky coastline of Norway’s southern tip. behaviour. Researchers from Norwegian research
Half sunken into the sea, the building’s monolithic centres will seek to train wild fish with sound signals
form breaks the water surface to lie against and will research whether fish behave differently
the craggy shoreline. More than an aquarium, throughout the shifting seasons. The researchers will
the structure will become a part of its marine also help create optimised conditions on the seabed
environment, coming to rest directly on the so that fish and shellfish can thrive in proximity to the
seabed five metres below the water’s surface. With restaurant.
metre-thick concrete walls, the structure is built to Informational plaques will be mounted alongside the
withstand pressure and shock from the rugged sea trail, leading guests to the restaurant entrance at
conditions. Like a sunken periscope, the restaurant’s the water’s edge. This informational path tells a story
massive acrylic windows offer a view of the seabed about marine biodiversity and the Norwegian coast,
as it changes throughout the seasons and varying weaving the narrative of the site into the overall
weather conditions. restaurant experience, and ends at a ramp up to the
Under has been designed with sensitive restaurant. Here, the entrance is clad in untreated,
consideration for its geographic context and aquatic locally sourced oak that will eventually fade into
neighbours. The sleek, streamlined form of the greyish tones, harmonising with the raw concrete.
building is encapsulated in a concrete shell with The building comfortably accommodates 80-100
a coarse surface that invites mussels to cling on. guests. As visitors begin their journey through the
Over time, as the mollusc community densifies, the restaurant they descend through three levels. From
submerged monolith will become an artificial mussel the entrance, where the tidepool is swallowed by
reef that functions both to rinse the sea and naturally the sea, guests enter the wardrobe area. Visitors are


then ushered down one level to the champagne bar, which marks
the transition between the shoreline and the ocean. This physical
transformation is emphasised by a narrow acrylic window cutting
vertically down through the restaurant levels. From the bar, guests
can also look down at the seabed level of the restaurant, where two
long dining tables and several smaller tables are placed in front of
the large panoramic window.
Here, guests will enjoy the Danish chef, Nicolai Ellitsgaard Pedersen’s
high-quality cooking of locally sourced seafood, such as cod, lobster
and mussels, including the specialty, locally sourced ‘truffle kelp’.
The restaurant’s colour palette follows the logic of the different
stories of the construction. While the champagne bar is characterised
by colours inspired by the coastal zone, with its subdued colours
evoking the sediment of shells, rocks and sand, the dining room
is submerged in darker blue and green colours inspired by the
seabed, seaweed and rough sea. The warm oak of the restaurant
interior contrasts with the rough concrete shell, creating an intimate
atmosphere. Materials are chosen not only for their aesthetic
qualities, but also for their sustainable characteristics and ability to
create a good indoor climate. Advanced heating pump technology
that utilises the stable seabed temperature functions to heat and
cool the building year-round.
Through its architecture, menu and mission of informing the public
about the biodiversity of the sea, Under will provide an underwater
experience inspiring a sense of awe and delight, activating all the
senses – both physical and intellectual. 031

MVRDV has unveiled the design of an adaptable building, leading from the main square up to the top
building located at the centre of Munich’s Knödelplatz floor. The panoramic stairs are linked to eleven-foot-
square. The building, known as WERK12, will feature wide terraces surrounding each floor, blurring the
16-foot tall German slang words, in homage to the borders between inside and outside and generating
neighbourhood’s graffiti culture. shading and circulation at the same time.
Responding to the diverse industrial history of the Although the site is very close to the city centre, it
current site, the challenge for WERK12 was to create shows a strong contrast to the Munich’s historical sites.
an adaptable building that becomes a focal point for The giant letters across the façade of WERK12 reflect
the emerging Werksviertel neighbourhood, located in this aspect. They are a tribute to the graffiti culture and
close proximity to Munich’s Ostbahnhof railway station. extensive use of signage found on the old site of the
The building will house flexible entertainment, Kunstpark Ost.
restaurants, office space and a multi-storey fitness Designed as an upscale urban art piece by local artists
centre within a highly transparent façade, transforming Engelmann and Engl, these letters allow the building
the building into a vertical extension of the plaza. to display emotions. Using German slang words found
The building’s design draws inspiration from the in various youth and subculture groups, they create
Werksviertel’s heritage as a former industrial site, emotions that are not only visually perceptive but also
translating this character into the new building. An extended as an acoustic component. The ultimate
important factor in the design was ensuring maximum contrast emerges when the building illuminates at
sunlight and ventilation throughout the building, along night, flipping the simple industrial geometry into a
with adaptable spaces. All five floors boast sixteen-foot lightshow of another scale.
high ceilings, each broken up by a mezzanine level
housing fitness rooms, classrooms and lounges.
Following the idea of maximum dialogue with the plaza
outside, the main staircase snakes its way around the


Friends of Harvey Milk Plaza

The Friends of Harvey Milk Plaza (FHMP), in the competition process. We are excited
collaboration with the American Institute to continue the design process with them
of Architects San Francisco (AIASF), has and incorporate all the learning and input
announced the design team led by Perkins from the community to create a space that
Eastman and Lightswitch Lighting Design as reflects the community’s values, including
the winners of a competition to reimagine San its love for Harvey and all that he stood for,”
Francisco’s Harvey Milk Plaza. said Andrea Aiello, president of Friends of
Harvey Milk Plaza is situated at the entrance of Harvey Milk Plaza and Executive Director of
the Castro Street Muni Station, which was built Castro Community Benefits District (CBD). “We
in 1980. In 1985, the plaza area was named envision a plaza that honors the contributions
in honour of civil rights activist and elected of Harvey Milk, and also inspires people to
official Harvey Milk, who lived and worked continue his mission.”
on Castro Street before he and then-Mayor FHMP and Perkins Eastman will now process
George Moscone were both assassinated in information gathered and learned during the
1978. Harvey led soapbox political rallies at competition, and to continue development of
the plaza, which has since been used as a the design proposal. As with any project in its
gathering place for community protests and early stages, substantial changes to the design
celebrations. are expected based on more public feedback,
The site serves hundreds of commuters daily, technical, and engineering concerns. FHMP
as well as thousands of tourists who come plans for future public meetings at various
through the transit station on their way to stages of design development.
visiting the famous neighbourhood. Once three finalists had been identified, FHMP
The announcement marks the end of the reached out to online platform Neighborland
design competition phase for Harvey Milk to host the community input initiative, which
Plaza. The competition was initiated after generated an overwhelming response. The
two community meetings held by the FHMP Harvey Milk Plaza project received more than
in January 2017, where public input about 20,000 responses from 9,645 people who
the potential future of the plaza generated participated in the two-week long survey,
a competition brief. The design brief was ranking this project as the most heavily
distributed in collaboration with AIASF trafficked ever in Neighborland’s history.
when the competition officially opened in “Once the competition got underway and we
March of 2017. After receiving 33 entries heard from the community, our own ideas
from around the world, a design jury of city and vision for the plaza expanded, and we
officials, nationally renowned architects and now have even higher hopes for creating
landscape architects selected three finalists. something that captures Harvey’s spirit and
FHMP selected the winner with input from the honors his contributions to the struggle for
design jury and technical staff from various civil rights,” said Aiello.
government agencies. As the project propels forward, FHMP is
“While each of the three finalists delivered accepting applications from individuals who
wonderful concepts for the future plaza, what are interested in contributing professional
set the submission from Perkins Eastman services and support in generating fundraising
apart was their bold, immersive idea; passion for the project.
for Harvey’s message; and willingness to
iterate the design based on feedback during


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Bank of America Corporate Center

Focus Lighting recently redesigned the exterior a gift to the citizens of Charlotte,” said Senior Designer
lighting at the Bank of America Corporate Center in Joshua Spitzig. “This was an opportunity to create a
Charlotte, North Carolina. memorable design and really have a positive influence
Bank of America Corporate Center is the tallest on how the city’s skyline is perceived at night”.
building in Charlotte and among the tallest on “To achieve this, we developed a guiding concept
the east coast, rising 871-feet above the city. With of ‘Light Paintings’ for the crown of the building,”
Charlotte nicknamed the ‘Queen City’, Bank of added Principal Designer Brett Andersen. “Instead of
America Corporate Center is often referred to by picking seemingly random colours of light, each ‘Light
citizens as the ‘Queen’s crown’. With that in mind, Painting’ would be an artistic composition inspired by
Focus Lighting wanted to create a lighting design for a source of Charlotte pride – like a beautiful Carolina
the building that would be welcomed and appreciated sunrise, or their beloved Panthers NFL team”.
by the residents of Charlotte. To find the perfect fixture to create their vision – an
For the building’s first exterior lighting renovation RGBW fixture with a tight, high-output beam and
since built in 1992, Focus Lighting produced a precise, excellent colour mixing – the team vetted a set of
multi-layered lighting design that creates a stunning fixtures at their studio, then tested those fixtures’
display of ‘Light Paintings’ on the city’s skyline. aiming and programming at various stages of the
“We started our work by analysing the views of the implementation, eventually finding one that met their
building, the crown’s intricate details, and its existing performance and budget requirements.
lighting (a single layer of metal-halide uplight). We A total of 436 high-powered Acclaim Lighting RGBW
knew we wanted to use modern LED technology to LEDs were installed at the building’s top floors
highlight Cesar Pelli’s iconic architecture, but we also to light the crown’s multi-layered tiers of soaring
recognised an opportunity for Bank of America to give masts. New controls enable each light painting to be


recalled either through an astronomical timeclock,

programmed event dates, or manually through a
custom web interface.
Focus Lighting also replaced metal halide fixtures
with 140 white-light Acclaim Dyna Drum LED
fixtures on the tower’s lower balconies, giving the
exterior architecture its brightest, most prominent
appearance ever.
One big challenge was the tower’s prominent
appearance on the Charlotte skyline. The building’s
owners required that the tower be illuminated as
usual every night during the installation. This meant
that for every existing metal halide fixture the
installation team removed, a new LED fixture had to
be installed, wired, and connected to a temporary
lighting control solution that would adjust that
fixture’s colour and intensity to perfectly match the
metal halide fixtures around it, thus minimising the Pic: Andreas J. Focke
visual disruption. Spitzig continued: “I’m used to
working on high profile projects, but here our in-
progress work was visible to thousands.
“It was a lot of pressure because programming is
often an experimental process, but here you didn’t
The Tower of Sparkle
want to put anything up that didn’t look great right Germany
away. If there was anything we were unsure about
we’d wait until the wee hours to look at it so fewer
people could see,” added lighting designer Erin Ryan. The Long Night of Architecture is an annual event in Munich, organised
With the help of WB Moore, the project’s electrical by the Munich Trade Fair Centre, in which architect practices visit, new
contractor, Focus Lighting devised a mounting system buildings open for the public, and conferences and other events related
to install the fixtures on the balconies in strategic to architecture are held.
locations to project light onto the building at precise Now in its fourth year, Long Night of Architecture 2017 saw a number of
angles. This mounting strategy added to the speed of interesting buildings and projects participating.
the installation. The HighRise One project is a tower with seventeen floors for office use,
The upgrade from metal halide to LED technology has and prior to the completion, designers at Pfarré Lighting Design were
made the building much more efficient and dynamic, approached by architects Steidle Architekten and building owners
and without any additional electrical operating Reiss & Co. Real Estate to create a lighting idea for the Long Night
costs. Now, with crisper, brighter lighting on the of Architecture on January 19, 2017. Already cladded with a façade,
lower architecture, combined with light paintings but empty and raw inside, the tower offered an ideal spatial basis to
on the building’s crown, Charlotte’s Bank of America implement something special, both for the Long Night and for PR-related
Corporate Center is more vibrant and dramatic than activities to market the building.
ever before. The idea was to fill the tower with light, so that the entire structure
“I’m very proud of the lighting at the building,” said sparkles and appears like it is filled with mineral water. 48 synchronised,
Spitzig. “It’s one of my favourite buildings on the rotating disco balls turn the building into an urban lighting sculpture.
city’s skyline, so it was a real honour to be part of its Mounted with simple hooks, four of them float above each floor in
re-lighting. As you drive around Charlotte at night you order to see their shimmering reflections on the ceiling slabs, which
can see it from just about everywhere, and it really characterise the sensation from the main street level perspectives.
stands out beautifully on the skyline as an icon of the The dynamic interaction of various levels, one above the other,
city.” transforms the empty shell of the HighRise One into a magical, temporary lighting experience for both passers-by and Long Night visitors. 037

Pics: Getty Images

Zhuhai Opera House

The striking Zhuhai Opera House, conceived by the the public something of the performances being
Urban Design Centre of China, Peking University undertaken within.
and delivered by the Beijing Institute of Architectural In developing their design concept Speirs + Major
Design, has recently been completed on an island also gave a great deal of consideration to the night-
just off the mainland. time image of the structure, which is highly visible
The new opera house, with its two giant shells at from a variety of viewpoints.
heights of 60 and 90-metres, has become the new The façade lighting is realised by means of strings of
landmark of the southern Chinese city of Zhuhai. Osram LEDs mounted to the inner façade system,
The building consists of a concert hall with 1,550 facing outwards to shine through the perforated
seats and a theatre with 500 seats and offers citizens outer façade. This is combined with grazing light and
and tourists to the city an unforgettable, dynamic floodlighting to the exterior of each of the shells,
experience with light from afar. emphasising the pearl-like form and adding a sense
The lighting approach to the façades was designed by of depth by contrasting solidity with transparency.
Speirs + Major and implemented by local designers, Coloured, individually controllable Traxon Dot-XL
Beijing United Artists. The brief was to respond to LEDs, with a total of 51,000 pixels, were installed
the unique twin scallop shell structure, the maritime behind the aluminium façade, enabling spectacular
location, and the cultural heritage of the site as a animations with video and light on the outer surfaces
former pearl fishing town – the name Zhuhai literally of the shells. During nocturnal hours, these lights
translates as ‘Pearl Sea’. take advantage of the semi-transparent, perforated
The designers at Speirs + Major took inspiration façade, transforming the scallop forms into self-
from the colours and textures associated with this illuminating icons and creating a fascinating play of
heritage: the lustre of mother-of-pearl, the graduated light. Animated content on the façade is based on
translucency of a shell, and the way light appears scenes taken from the ocean, referencing Zhuhai’s
when viewed through rippling water. Translating heritage as a major fishing port in the Pearl River
these ideas to the Opera, they proposed that the Delta.
full surface of each of the four faces should glow; Lighting Design Integrator, Philip Rose, commented:
enlivened by animated lighting content that would “Often the best expression of a building at night is
create a remarkable iridescent effect. achieved by lighting from within. In the case of the
The ability to adapt the animated content offers Zhuhai Opera, the glistening, shell-like forms are
the city a means to connect culturally with the revealed as a spectacular and dynamic landmark in
local people and visitors. Light becomes a means the context of the city, while up close, the movements
to communicate and engage, with the option to of people enjoying the site are seen in silhouette.”
create light and sound experiences that share with

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Leake Street
Nulty has recently completed work on the had to be flexible for future events, the light fittings
regeneration of Leake Street Arches in London’s had to be robust and the scheme had to showcase
Waterloo, including lighting 300-metres of dramatic the unique and ever-changing artwork on the tunnel’s
street art. Originally brought to fame by notorious walls.
street artist Banksy, Leake Street, also known as The lighting design within the tunnel features a
‘graffiti tunnel’, links Lower Marsh to the South Bank theatrical truss suspended down the underpass.
and is one of London’s most popular urban street Mounted on the truss are a series of spotlights,
art locations. As one of the few legal walls in the UK courtesy of Meyer, that provide gallery-quality lighting
where artists can express their creativity in public, to pick up on the colourful artwork.
the atmospheric tunnel is a haven for graffiti artists During the design process Nulty worked closely
around the world to leave their mark. with Secure by Design (SBD) to ensure that any light
Working closely with the developers LCR, Nulty’s main fixtures used within the tunnel could withstand wear
objective was to highlight and celebrate the artwork, and tear. Bespoke spotlights were designed to have
whilst improving the quality of the light throughout an anti-glare cowl, for a more theatrical appearance,
this urban and individual space. along with a secondary glass lens that can be easily
Based in offices just beside Waterloo Station, Nulty removed and cleaned, should fittings be spray
Director Ellie Coombs said: “It’s not often you get a painted over.
project right on your doorstep. It was fantastic to Linear RGBW uplights from Kemps Architectural
have the opportunity to collaborate with our local Lighting were mounted on top of the truss to
community and be part of the development of an illuminate the arched ceiling with a wash of white
urban space that our team know, love and use on a light and highlight the architecture of the space. The
daily basis.” uplights have colour-changing capabilities that can be
The Nulty concept brings the tunnel to life through tailored to create various moods for different events
the innovative use of light. Light serves as a canvas within the tunnel.
for the artwork to be displayed clearly as well as Accent lighting is provided by Linea Light fixtures
creating visual stimulation for both artists and that have been carefully mounted at the base of the
visitors. arches, above the nearby retail units, to celebrate the
When designing the lighting scheme three main curved architecture of the space.
elements were taken into consideration: The space

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Wind Reflections

Lighting designer Rhiannon West has created a new wind and light
installation for this year’s Sculpture by the Sea, in Bondi, Australia.
This piece, entitled Wind Reflections, is inspired by the essence of light
and the importance of natural energy in modern day society.
Spiralling down the sculpture in a double helix structure, 128
dichroic glass lenses are positioned to reflect and refract the light
Pic: David McConaghy from sunrise to sunset. The wind generated is stored and at dusk a
series of 3W, 3000K LED uplights illuminate the stainless steel and
glass sculpture. The piece signifies the importance of renewable
energy and the effortlessness of powering and illuminating the work.
Sculpture by the Sea runs from Bondi Beach to Tamarama Beach
and is the world’s largest free to the public sculpture exhibition. The
spectacular coastal walk is transformed into a 2km long sculpture
park over three weeks, featuring 100 sculptures by artists from
Australia and across the world. This October marked 21 years of
Sculpture by the Sea and each year more than 500,000 people
attend the exhibition.
Wind Reflections was a collaboration with Nocturnal Lighting
(Fabrication and illumination Twiggy Spike Lights), TILT Industrial
design (Engineering) and iGuzzini (Sponsorship).
West is a Lighting Designer for Point Of View, Sydney studio. She
Pic: Richard Lewisohn Pic: David McConaghy moved to Australia in 2015 to continue her passion for lighting
“down under”. Channelling a British edge to her design she enjoys
creating and producing work, using light as her paintbrush. This is
her first solo piece and in the past, she has teamed up with several

Restaurant & Bar Design Awards members of the lighting industry to produce temporary art; such
as the SLL in 2015 for the first of the ‘Night of Heritage Light’ events
UK where the team lit nine UNESCO world heritage events in one
night. She was also the lighting designer for the UK Pavilion 2015, a
collaboration with Wolfgang Buttress, during her time with the BDP
Now in its ninth year, the Restaurant & Bar Design Awards has become Manchester team.
a globally recognised competition, dedicated to the design of food and West has been successful in winning a place in Sculpture by the
beverage spaces, covering anything from ships to airports, museums to Sea 2018, Cottesloe, which is staged on the beautiful Cottesloe
burger vans, even Michelin-starred restaurants to pop-up eateries. Beach (Western Australia) where Dichroic Glass Lenses will form the
Each year, the awards attract top designers from around the world, with centrepiece for her work again.
recent names including Zaha Hadid, Foster & Partners and Kengo Kuma.
The 2017 awards ceremony was held at London’s Granary Square in
King’s Cross on 5th October.
As a company with a long association with the Restaurant & Bar Design
Awards, Firefly Lighting Design was asked to design the lighting scheme
for this year’s awards event. Three architectural practices were nominated
to design soundscape boxes: SHH Architecture & Interior Design,
Haptic Architects and Design Command. These soundscape boxes were
intended to provide both visual and sonic links to the Kings Cross district
which, with its new redevelopment, now represents an areas rich in
history and transition.
Working with the design teams, Firefly developed lighting schemes
for the three boxes, which were ‘revealed’ to the guest as the evening
The SHH-designed soundscape provided four different soundtracks, all
related to the history of the King’s Cross district. Concealed downlights
from Lucent Lighting accented each of these ‘sound cones’.
In a soundscape called Absence, Haptic Architects evoke a forest, in which
Firefly Lighting Design used artificial sunlight fittings, created by Coelux, to
create a very real sunlight effect.
Finally, Design Commands celebrated the chimes of King’s Cross in their
soundscape, with accented numerals on the floor and clock components
suspended from the ceiling. Lighting for this concept was provided by
Light Projects.

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With a team experienced in architectural lighting,
interior design, engineering and construction, Indian
architectural lighting design practice BRAINWAVE
creates a dialogue between architecture and its
surroundings through a combination of daylight and
artificial illumination.

Fluid Bar Exchange

Located 100-feet in the air, the Fluid Bar offers
striking views of the city below, its design and
lighting scheme reflective of its title. Studio Ardete,
the architect for this project, was responsible
for studding the ceiling with an array of faceted
structures that integrate the lighting system into
the installation itself. FRP modules gradually
change the colour of the light from vibrant pinks
and purples to dusky greens and cerulean blues,
appearing to be almost ‘fluid’ in its transition.
Keeping with the name of the bar, the designers
attempted to emulate the ‘slow convergence into
water molecules, generating a dynamic spatial
dimension to the interior’.
The Onyx bar lit from within follows suit, with
changing colours complementing the general
Pic: Purnesh Devnikhanj
theme and ambience of the hip and popular

Furniture Studio
Mumbai, Maharashtra
Given the dwarfed proportions of the space
designed by Hiral Jobalia, the client was certain
to avoid all ceiling suspended luminaires in the
studio. It was essential to maintain a key focus on
the high-end furniture pieces. In order to inject
luxury and maintain a sophisticated ambience, the
lighting scheme called for visual comfort, flexibility
in application and minimal intrusion of luminaires.
The light was kept diffused, achieved through
ceiling recessed profiles marking peripheries of
spaces, coves concealed behind panels, vertical
surfaces such as walls and fins grazed gently, and
linear strips employed under cabinets. The levels
of illumination were kept low, and accents were
created with meticulously selected adjustable Pic: Photographix
spotlights embedded in the ceiling.


Bhavesh Nagda Residence

Mumbai, Maharashtra
The 3,000sqft residence located in central
Mumbai was designed by Anita Nagda, centred
on the fundamental requirement of it being
a comfortable family dwelling. The lighting
scheme was therefore layered in a manner that
there was ample uniform ambient illumination
complemented by accents and points of focus.
This is achieved in areas such as the living
room by providing concealed coves around
the periphery from where the drapes descend,
along with ceiling recessed profiles that follow
the path of the track emanating a soft glow,
highlighting important elements such as the
artwork with adjustable spotlights mounted
on the track. Automating the system helped in
creating a variety of scenarios that correspond
Pic: Mahesh Shah
to different situations and moods.

Parshwanath Business Park

Ahmedabad, Gujarat
Designed by Apical Reforms, the building fitted with gobos and moving heads, mounted
is volumetrically divided into two parts, the on tall poles placed 8-metres away from
base being a framed podium with a glass box. the front edges were directed diagonally
Protruding fins create an undulating skin in across the façade. This ensured uniform light
a rippling effect based on preset parameters distribution while avoiding a direct glare to the
using computational software. Installed to inhabitants. Changing colour and temperature
shade the glass façade behind and reduce heat of light, and multiple zooming options allowed
gain, the fins are governed by local climate and for a dynamic scheme. The podium, on the
environment. Wanting to create an animated other hand, employed indirect lighting –
frontage, which does not interfere directly vertical surfaces being illuminated to generate
with the glass fins, Brain Wave Designs played indirect illumination, the green wall fitted with
with the strong vertical design language by customised light installations and the entrance
illuminating the building from afar. Luminaires canopy highlighted with up-lights.

Pics: J.J. Films - Jignesh Solanki

Founded in 2013, Brainwave is an independent
architectural lighting design practice based
in Mumbai. Its team of architects and interior
designers strive to create beautiful lighting
environments and ambiences by providing
complete lighting design consultancy from
the conceptual stage to the commissioning
of the project. Brainwave’s philosophy is to
create a dialogue between architecture and
its surroundings through the most subtle
medium of both artificial light and daylight. The
company sees light as a material to be applied
to architecture through a process of layering,
adding creative value to its projects. 045

Paul Traynor

arc talks to lighting designer Paul Traynor, principal of London-based Light Bureau which has just
merged with Scandinavian lighting design consultancy, ÅF Lighting.

How did you get into lighting design? problems, which is common with people who start a design firm with
During an apprenticeship in the project design office for Pfizer in Kent no aptitude (or desire) in running a business. I was shocked when Kai
I was working at a drawing board draughting record plans of a project I sold to ÅF but every time I saw him after that he was looking increasingly
helped to install. It was the first environment I’d been exposed to where relaxed and fulfilled - he was working on great projects and getting them
people were trained and educated professionals and I saw there was done because he had the support and structure that our businesses
another future open to me. It made me realise I could pursue formal tend to lack, led as they are by designers, not by business people. When
education if I wanted and I applied to Medway College of Design to do a ÅF decided to step outside Scandinavia and go international, they put
photography diploma. The course was full and I was told to apply next the pin in London and Kai made an intro. Nineteen years after starting
year, so I moved to London and traded on my draughtsman’s skills, Light Bureau I was ready to become part of something significant and
working for good money in construction firms. I developed design skills all of my colleagues saw even more benefits than I did, so it’s been a
and it was a really interesting time, so I didn’t re-apply to Medway. I was unanimous and inclusive process.
then recruited above my skill level in a consulting engineering practice
and then I got to experiment in lighting and I was hooked. I went to work How do you think being part of ÅF will benefit both companies?
in an architect-led multidisciplinary office to focus on and develop my ÅF wanted to become truly international, although they had a lot of that
specialism and decided to get a decent qualification, so I studied for a happening already. Light Bureau has always done a significant amount
four year part-time degree at South Bank University. of overseas projects so that was a good fit. With ÅF, Light Bureau gets
access to some incredible specialisms and some substantial resources;
When and how did you start Light Bureau? we’ve missed opportunities in the past by lacking some areas of
In 1998 I was due to get married and as I worked in the same firm as expertise or reference projects and now we have access to more than
my fiancée, I chose to leave and to see how I could cut it in a dedicated 100 designers and a massive and impressive portfolio. ÅF really value
lighting firm instead of being a specialist in a generalist office. I had the quality of Light Bureau projects and how we work, there are some
some good options but only one company talked to me about career really good synergies and from signing the contract in October it’s
development and I went there, but it was design and supply so I had been positive and very big-picture. The enthusiasm and drive are very
new barriers to working with some clients and architects and that infectious qualities.
frustrated me. I couldn’t see any point warming up contacts at the firms
I had spoken to ten months previously, they still wouldn’t be talking to Will your role be changing?
me about long term opportunities, so I decided to chance it myself. All I will continue to run Light Bureau and we will carry on trading under
of the projects I was working on were clients I had brought myself and this name, as it seems to have significant meaning and value. We’ve
I was promised more if I took the big step of self-employment. My first spent a long time building our brand and reputation. I make no secret
day in February 1999 I started work on Accenture’s new headquarters in of the fact I am under contract for three years during which time I’ll
London - not bad for a fledgling one man band! earn-out, but after that I fully expect to stay on and negotiate a new
contract and continue. But as part of ÅF the remit expands and I am
Name some of your memorable projects. Why do they resonate? part of the advisory board as it’s called and will work on strategies for
Apple Computer, Stockley Park because that’s where I negotiated out of developing the profile and business for the whole of ÅF Lighting, not just
a bad design solution that the architect was insisting on to a better one I Light Bureau, also on training and education for our designers - we are
could foresee. It was difficult and stressful but the result was better than developing our own ÅF Academy, which really motivates me.
I had imagined and the architect and client were very happy. Until they
told me I had been right it never occurred to me what the implications Do you think mergers of lighting design practices is something we’ll
would have been if I had been wrong! Boots the Chemist at Bluewater see more of?
on the other hand was a disaster - I was not so experienced in retail and Yes, I think so. Lighting has become a very interesting aspect of
I underestimated how much ambient and nuisance light would reduce construction design and bigger firms who previously only focused on
the visual impact of a feature wall I designed. A more recent notable their core activities of, typically, consulting engineering and architecture
project would be the Yellow Pavilion, which was ephemeral but which now see the real value that a well-realised lighting deign can bring
embodies key principles that Light Bureau upholds - it’s simple, visually to a project. It brings prestige to such a company and they want to
strong, uses very few products and they are discrete, and throughout be able to provide this service as part of their overall business offer.
the whole process we validated and curated. As we say, Light as Craft. Lighting design does suit a small business profile and is scalable, from
one person at a kitchen table, but when you hit double digit designer
How did the ÅF Lighting deal come about? numbers and into the teens, there’s usually a lack of structure that
My good friend Kai Piippo and I started our companies about the same makes up-scaling difficult. So I think that mergers and acquisitions like
time and we met in Prague on an early ELDA AGM and bonded on an this could become more common.
intensive ‘cultural’ weekend. Since then we’ve compared stresses and


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ADV_MondoArc_21.11.17.indd 2 21/11/17 14:56

Louvre, Abu Dhabi, UAE
Client: Tourism Development & Investment Company, Abu Dhabi
Architect: Ateliers Jean Nouvel, France
Lighting Design: 8’18”, France
Daylighting Design: BuroHappold, UK / USA

Pic: Roland Halbe


Rain of Light
Designed by French architect Jean Nouvel with
lighting design by 8’18” and daylighting by
BuroHappold, the Louvre Abu Dhabi has created
a buzz of excitement since opening in November.
For once, the reality has lived up to the hype.

Pic: Justin Ford 049
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offices, conference rooms and foyers.

Light is the fourth dimension of architecture

171121_en_cluster_work_mondoarc.indd 1 21.11.17 17:25


Pic: Marc Domage

Above ERCO wallwashers are used to arely has the opening of a museum visitors to enjoy the ever-changing relationship
illuminate the artworks in the galleries.
Firalux and Artemide Cata fixtures are created as much excitement among between the sun and the dome and between sea,
used in the ‘Flying Carpets’ in the ceilings
of the galleries. the international media as the Louvre buildings and land.
“Illuminating the Abu Dhabi Louvre Abu Dhabi. The project has garnered The construction of the museum took place from
required a projector capable to adjust
the light-to-shadow ratio, as well as as many column inches in the popular press as 2013 to 2017. The museum’s growing collection of
to integrate into the large roofing and
produce a well-defined flow of light on the it has in the architectural media. And with good more than 620 important artworks and artefacts
works on display,” commented Artemide
vice president and designer of the Cata, reason. The museum has met with critical acclaim spanning the entirety of human history around
Carlotta de Bevilacqua. “The performance for its stunning design and dynamic lighting, both the world. It includes ancient archaeological
requested of Jean Nouvel for the museum
was very specific and should satisfy artificial and natural. finds, decorative arts, neoclassical sculptures,
several requirements to both integrate
with the project for the large perforated Pritzker-prize winning architect Jean Nouvel paintings by modern masters and contemporary
roofing and enhance the museum display.
We promptly realized that Cata was the
sought inspiration for the concept of Louvre Abu installations. At opening, 235 works from the
ideal product for this project because, Dhabi in traditional Arabic architectural culture, museum’s own collection are displayed in the
as an open platform, it could provide a
comprehensive solution to all needs. Its and designed Louvre Abu Dhabi as a ‘museum galleries.
ability to support different optical units
allowed us to obtain the necessary lighting city’ in the sea. Its contrasting series of white Louvre Abu Dhabi was born from a unique
Opposite Page The ‘Rain of Light’.
buildings take inspiration from the medina and intergovernmental agreement between the United
BuroHappold designed an intricate lattice low-lying Arab settlements. In total, 55 individual Arab Emirates and France, signed in 2007.
structure that allows sunlight to permeate
the dome and dance across the galleries but connected buildings, including 26 galleries, The agreement embodies a vision shared by
below in ever-changing dappled patterns.
make up this museum city. The façades of the the two countries to develop the first universal
buildings are made up of 3,900 panels of ultra- museum in the Arab world. It establishes Louvre
high performance fibre concrete (UHPC). Abu Dhabi as an independent institution, and
The museum design is a collaboration between includes the use of musée du Louvre’s name for 30
traditional design and modern construction years.
techniques. The tranquil environment encourages The lighting design was completed by French
practice 8’18” headed by Rémy Cimadevilla and
Georges Berne, who is based in the 8’18” Shanghai
studio. They worked closely with Jean Nouvel (who

“It is rather unusual to find a also independently developed the Luxiona Troll
Paralum fixture for the project) on the lighting

built archipelago in the sea. It is

concept and, in the case of the of the vast dome,
180 metres in diameter covering the majority of

even more uncommon to see

the museum city, they collaborated with Yann
Kersale (SNAIK) on the artificial lighting sheme
using 4,500 Zumtobel fluorescent fixtures.

that it is protected by a parasol “We feel its mass and we perceive a vision
of thousands of broken lines,” commented

creating a rain of light.” Cimadevilla. “When the museum is closed to the

public, the dome radiates an exterior glow from
within. It creates a kinetic effect by the movement
Jean Nouvel of the lights - the dome flickers. The fixtures 051
Pic: Roland Halbe

4,500 Zumtobel Chromosome Light 2 1/35W
transparent diffuser fluorescent luminaires
were used to illuminate the 180-metre
diameter dome. Each fixture contains one
3000K tube and one 5000K tube, separately
dimmable and divided in 128 areas. The
fixtures were systematically installed,
according to the structure of the dome.
“The dome gleams in the Abu
Dhabi sunshine. At night, this
protected landscape is an oasis of
light under a starry dome.”
Jean Nouvel

Pic: Vincent Laganier, Light ZOOM Lumiere


Pic: Marc Domage

Pic: BuroHappold

Pic: Marc Domage

Top Lico (Lighting coves), virtual windows

utilising Lucibel fittings, create different
layers of light throughout the Louvre.
Above The display cases were specially
constructed incorporating Deltaline and
Mooveo fixtures from SPX Lighting.
Left Each ray of light penetrates the eight
layers before appearing or disappearing.
Pic: BuroHappold Right Ai Weiwei’s Fountain of Light
shimmers under the dome. 057

layers before appearing or disappearing. The

result is a cinematic ‘Rain of Light’ dappled
effect as the sun’s path progresses throughout
the day. At night, it forms 7,850 stars visible
from both inside and out. This ‘Rain of Light’
effect has been the subject of many models
and mock ups over the years and is one of the
defining features of the concept.
The effect is effortless in its beauty, but it took
bold, imaginative and ingenious engineering to
allow the sun into the museum galleries while
protecting the priceless artworks inside.
Working in tandem with Jean Nouvel, the
BuroHappold team evaluated a number of
concepts by which to bring the element of
water into the building, finally settling on the
Pic: Marc Domage inclusion of tidal pools that reflect the light
that filters through the glazed roof in dappled
patterns on the interior walls, creating gentle
movement that correlates and responds to the
museum’s unique natural setting.

“We feel its mass and we Filtered natural light is present in all the
galleries, either from lateral windows with

perceive a vision of thousands views onto the surrounding environment or

through ‘zenithal’ lighting. This involves

of broken lines. When the

the use of glass mirrors to capture sunlight
and direct it into the gallery spaces while

museum is closed to the

also scattering rays to avoid glare. There are
seventeen glass ceilings within the museum
galleries. Each is made up of eighteen different

public, the dome radiates an types of glass panels. In total, there are over
25,000 individual pieces of glass. These glass

exterior glow from within.” ceilings incorporate both natural and artificial
lighting to provide an optimal lighting system
for the artworks on display.
Rémy Cimadevilla, 8’18” Louvre Abu Dhabi’s complex engineering
concept has made it one of the most innovative
and challenging museum projects built in
create a multitude of dynamic splashes in hot recent times.
and cold white.” To meet stringent environmental control
The dome consists of eight different layers: requirements within the museum galleries, the
four outer layers clad in stainless steel and four design team developed a system, including the
inner layers clad in aluminium, separated by a lighting, that does not deviate by more than
steel frame five metres high. The frame is made one degree from 21 degrees centigrade or 5%
of 10,000 structural components pre-assembled humidity range. This guarantees exceptionally
into 85 super-sized elements, each weighing on stable environmental conditions for artworks
average 50 tonnes. and visitors.
The dome’s complex pattern is the result The interior exhibition spaces, comprising
of a highly studied geometric design by museum galleries, temporary exhibition
BuroHappold. The pattern is repeated at various spaces and Children’s Museum, make up
sizes and angles in the eight superimposed 8,600sqm, with permanent galleries covering
layers. Each ray of light penetrates the eight approximately 6,400sqm.

The Light.

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Design by blocher partners

CARDAN_236x333uk_MondoARC.indd 1 14.11.17 11:46


Pic: Vincent Laganier, Light ZOOM Lumiere

says Berne. “It is flexible in its dimensions

Pic: Vincent Laganier, Light ZOOM Lumiere
in height with a width up to six metres. Its
purpose is to bring a vertical lighting of
atmosphere in the spaces under the dome,
the circulations areas, the reception and all
the public spaces.”
The third layer of light to the galleries has
been dubbed the ‘flying carpets’. Horizontal
windows of direct / indirect lighting
(supplied by Firalux) and Artemide Cata
Lens projectors create flexible solutions for
each gallery depending on the requirements
of the exhibits.
“Neutral white fluorescent wallwashers
[from ERCO] are installed at the periphery,”
describes Cimadevilla. “Then, the warm
white projectors [from Artemide] are
installed in the frame of the carpet of light.
Finally, the ceiling lighting is completed
with general indirect/ sdirect lighting [from
Firalux] in cold white revealing the texture of
LIGHTING SPECIFIED In order to avoid the clutter of lighting the different exhibits.”
Artemide Cata Lens projectors masts and projectors that would spoil the Louvre Abu Dhabi is destined to be a
ERCO TFL 65081 wallwashers
Lucibel custom asymmetric LED cove
architecture, 8’18” developed a second layer culturally iconic piece of architecture that
lighting of light - a virtual window utilising Lucibel will transform the image (and the visitor
SPX Lighting (Sylumis) Deltaline profiles &
cove fixtures. Based on the built frame, it numbers) of the UAE’s second biggest city,
Mooveo spots
Firalux direct / indirect ceiling fixtures takes the place of a concrete panel “as if a much like the Guggenheim has done for
Zumtobel FT 2/35 T16 Chromosome field of light is hidden behind the walls of Bilbao. Even if you are not an art lover, you
LED Linear Xoolight & VarioLED linear
the museum,” muses Cimadevilla. “This cannot fail to enjoy the building... and the
fittings abstract light, slightly unreal, is designed light.
KKDC SEN 033 linear fittings
with hidden sources with specific optics. We
Prolicht PI² surface luminaires
Luxiona (Troll) Paralum luminaire called this the ‘Lico’ specific light window.”
Bega 77681S projectors “It’s an abbreviation of Lighting cove,”


18–23 MARCH 2018
HALL 3.1 | BOOTH A41

Stefan Yazzie Herbert Pic: Viki Noviki


Paranormal Activity
arc assistant editor Matt
Waring caught up with Stefan
Yazzie Herbert, founder of
the brilliantly named The
Paranormal Unicorn, at the
inaugural Trends in Lighting
event to discuss the Austrian
firm’s unique approach to
light and design.

here’s a new name in the lighting world that
is fast gaining recognition for its innovative
approach to design, and for the variety of
projects that already fill its extensive portfolio.
And it’s a name that sticks in the mind.
Founded in 2011 by Austrian-American art
student Stefan Yazzie Herbert, The Paranormal
Unicorn describes itself as an ‘audio-visual artist collective’ that
specialises in stage and lighting design. Based in Vienna, Austria,
the firm originally began as a platform for Herbert and two friends,
carpenter Benni Frener and Philipp Gantioler to launch a prospective
music career.
“We were hobby DJs who wanted a cool stage show for ourselves,
so we made our very first project together: Stage One,” explained
Herbert. “After quickly realising that nobody really wanted to book
us as DJs but they still wanted the stage, we started renting it out to
raves and festivals. As we got to know people in the industry, we were
asked to do more and more commissioned work.”
Now, Herbert runs The Paranormal Unicorn with current business
partner Dominik Hell-Weltzl, and over the years the company’s skill
set has expanded to include video and content production. Though
Herbert says that their passion is still rooted in light and stage
design: “That’s where we shine – no pun intended.”
Herbert’s fascination with light began while helping out friends
at design studio Neon Golden on an installation at Viennese club
‘Grelle Forelle’ during his studies at the University of Applied Arts
in Vienna. “During that project they taught me how to solder, how
dimmers work and gave me a rough understanding of electronics,”
he said. 063
Hidden Noise Pic: Stefan Yazzie Herbert


“I loved this idea of an entirely new

world that was constantly around
us but that we couldn’t see”
Stefan Yazzie Herbert, The Paranormal Unicorn 065

Clockwise from top left Stage One pic: Matthias Rhomberg; Lighting
Painting pic: Jolly Schwartz; Möbius pic: Simon Sais; Ihr Kriegt Mich Nicht
Mehr Weg - Appletree music video pic: Daniel Hager

“Later, after the success of Stage One, at least, the fun ones are – and for several of smarter and more experienced people.
people started to know me as ‘the LED guy’, the more complicated projects I’ve worked Knowing the extent of your own skills is
so lights and projects associated with light on, I don’t think there’s anybody in the paramount. If you overestimate yourself, the
seemed to follow me. The more I worked world who would have known exactly how to project will ultimately always suffer from it.”
with the medium, the more I fell in love with handle it. Indeed this collaborative element of his
it. “Throughout my career I’ve taken on work is something that Herbert wants to
“I had previously done quite a bit of work projects that others perhaps wouldn’t have. see more of in the lighting world. “I hope
as a VJ but once I started working with It’s scary doing something bigger or more to see more collaboration between fields,”
LEDs, my passion for projected light fell by complicated than you’ve ever worked on he said. “As a society we are tending more
the wayside. The intensity and emotion of before, but if it takes you to the next level, towards specialisation but in my opinion, the
emitted light was much more powerful to me it’s almost always worth it. Sure, it’s risky most fascinating innovations are happening
than what projected light could ever give.” and I’ve taken a black eye or two when I’ve where multiple areas of expertise overlap.
Since the inception of The Paranormal underestimated the breadth of the project, “All of the technological inventions that are
Unicorn, Herbert has been very open about but if I could do it all again, I would still currently being hyped, like smart lighting
his relative lack of experience in the lighting rather take the black eye than turn down an and wireless technology aren’t really
world, but he’s always keen to improve his amazing opportunity.” changing the aesthetics of lighting that
knowledge through working with others. Herbert’s notion that you “don’t need to be much. Interconnectivity between people is
While this approach brings with it an an expert in order to make things happen” more important than between devices.”
element of risk, Herbert believes that such is a refreshing approach, but he feels that by While The Paranormal Unicorn has often
risk is the only way to truly reach the next accepting your own limitations, it allows you taken on jobs without knowing how to
level. to develop your skills and progress further. complete them, Herbert believes that this
“Every time anybody wants to do something “Embracing your own ignorance gives you constant drive to find new projects in new
never done before, it’s a risky move,” he the power to find people who are better than areas helps make them unique. “What really
said. “And besides, if I knew exactly how to you in that specific field, and that improves makes our company stand out is that we
do everything already, life would be boring. the quality of a project,” he explained. “I aren’t afraid to try out new things, and really
Every new project is a learning experience – constantly try to surround myself with enjoy working in new fields,” he said.

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“It’s projects like these that
make me want to keep
learning and innovating.”
Stefan Yazzie Herbert

Gravitas Pic: Red Bull


“We’ve forayed into unknown territory so often at this point that motors, lights, etc.) and convert those waves into audio signals. It
we’ve become quite good at learning new workflows and interfacing was here where inspiration struck.
with new teams. We never shy away from a challenge, and we’re “My classmate David Osthoff and I loved this idea of an entirely
always excited to see what’s going to come next.” new world that was constantly around us but that we couldn’t see,”
By venturing into the unknown throughout their tenure, The Herbert said. “We wanted to visualise it in a way that immediately
Paranormal Unicorn has landed a number of really fascinating made sense to the viewer. So we created a technique using the
projects, including light art installations, music video productions transducer, an LED stick, a photo camera and a video camera that
and stage designs for festivals and touring musicians. There are made it possible to ‘show’ this hidden world by visualising these
two projects though that, for Herbert at least, stand out among the audio waves.
others: “From an artistic standpoint, Hidden Noise is by far my “All of a sudden, you could see the hidden processes around us in
favourite project that I’ve created, and Gravitas was the most fun plain sight. Subways starting and stopping, car motors zipping
from a teamwork perspective because it involved so many different by, power lines humming all became suddenly visible. There is no
fields of expertise.” judgement in the art piece, though it is intended to cause awareness
The Hidden Noise project, created in 2014, was one born out of about the ubiquity of this hidden noise around us.”
necessity for Herbert. A failing university student, his professors Hidden Noise is a remarkable, visually stunning art installation, and
had voted to kick him off his course, but after being granted one last since its creation, it has been exhibited in Austria, China and Cuba.
chance, he needed a good idea to keep him in school. The reception it received meant that Herbert was ultimately not
Luckily, inspiration came to him during a workshop with Christina kicked out of university, although he revealed that he did later drop
Kubisch, where he was given ‘electro-magnetic transducer out anyway.
headphones’ to work with. These devices could sense the Herbert’s second favourite project, Gravitas, was something
environment for anything that used electro-magnetic waves (Wi-Fi, altogether much more high-octane. Following their work with
Austrian drum and bass artists Camo & Krooked on their 2014
Zeitgeist European tour, in which The Paranormal Unicorn created a
full-scale festival production for the show, including integrating its
Möbius stage element, Herbert teamed up with the musicians, and
the Red Bull Skydive team, for a very special music video that literally
lit up the sky.
For the music video, The Paranormal Unicorn was approached by Red
Bull to create a portable lighting system that had all the functionality
needed for a full-colour, synchronised light show, while
simultaneously being able to stand the wear-and-tear of skydiving.
“It was a perfect project for me because it encompassed so many
different fields,” explained Herbert. “First off was the choreography.
Because the Red Bull Skydiving team didn’t know anything about
light, and I didn’t know anything about skydiving, we had to work
together to develop a choreography that utilised the best of both
After receiving the song to base the programming on, The
Paranormal Unicorn worked closely with the skydiving team in order
to come up with an interesting show that would showcase both their
abilities as athletes and realise the full potential of the lighting
system that they had created.
The technical aspect of the project provided the most difficult
challenge though. Building a system that worked perfectly from a
4,000-metre jump all the way to the floor was no easy feat, thanks
to a myriad of factors that they never had to consider before, like
pressure, altitude and temperature. Alongside this, everything had
to be wireless, and work with small batteries so that the enclosure for
electronics weighed as little as possible.
After climbing to the required height, the jumpers synchronised
their suits in the plane via remote control. All jumpers had earplugs
so that they could stay synchronised and maintain awareness of what
part of the choreography they were in. 069

Herbert mid-flow at TEDxDornbirn. Pic: Robert Nwaoko

Once the signal was given, the four athletes design are closely related, if he had to put a imagine that the next few years will be doing
jumped out of the plane, followed by the label on it at all, he seems himself as more of our best to see what industries could benefit
cameraman, who had a 5kg camera attached a designer. from using light in crazy and innovative new
to his head. The jumpers went through “I have definitely created art in the past ways.”
their choreography and then landed on and continue to do so on occasion, but most Indeed this quest for innovation is a
an LED landing strip, also prepared by of my creations are firmly in the realm driving factor for Herbert, who gets fairly
The Paranormal Unicorn. Because several of design,” he said. “But the label I give philosophical on the subject: “I really believe
angles were used in the video, the scene was myself depends on the work I am currently in true innovation, completely new fields of
repeated five times in total. “The weather doing. Sometimes I am a lighting designer, thinking,” he said. “I want to use technology
didn’t always agree with us and we had to sometimes I’m a light artist, but I have in order to create new ideas, try out things
cancel a few jumps, but through thick and donned the mantel of lighting technician, never done before, and to do it beautifully,
thin, we pulled through,” Herbert said. creative director, technical project manager aesthetically. If I can come up with one truly
“For me, what really made this project so and even lighting consultant.” new idea before I die, in the world of lighting
much fun was the creative reign that I was Whatever his title, Herbert is keen to or otherwise, I can die in peace.”
given by Red Bull. They let me film, edit and take The Paranormal Unicorn further in But aside from his approach to lighting
direct the final video as well. We partnered the future, and while his profile has been design, and what the future holds for The
with our friends at Frame Fatale for the post- boosted over the past twelve months, from Paranormal Unicorn, there’s only really one
production process and created something speaking at the inaugural Trends in Lighting question left to ask: where does the name
that we could all be proud of. event, to hosting his own talk at TEDx come from?
“Having knowledge about all of the different Dornbirn, in which he designed his own “The Paranormal Unicorn doesn’t really
aspects involved in making a project like this stage, he’s still unsure what the future holds. mean anything, and none of us can really
is what made it work in the end. It’s projects “I wish I knew! This year we’ve already had remember how it came about,” Herbert said,
like these that make me want to keep amazing opportunities to start working in “but it does represent us quite well. It’s
learning and innovating.” a few new industries, from set design to childish, fanciful and fun.
The work that Herbert has done with The product development,” he said. “We don’t take ourselves too seriously and
Paranormal Unicorn means that he could “What is more fascinating to me though is we hope nobody else does either!”
be classed as a ‘Light Artist’, rather than a the unknown. There are so many industries
lighting designer. However, while art and that are a complete mystery to me and I

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6936 LF_Arch_Ad_CC_333x236.indd 1 03/10/2016 13:35


Character Building
Throughout his long and
distinguished career,
lighting designer Martin
Klaasen has been involved
in a long list of iconic
projects in Asia and
Australia as well as being
at the forefront of lighting
education in the region.
Words: Robert Such

n the lighting business for almost 40 years,
Martin Klaasen, Principal at Klaasen Lighting
Design (KLD), traces his ability to manage the
ups and downs of his career to the influence
of a number of people. Making the top of the
list though is his grandmother: Geneviève
Dreyfus-Sée. An architect in France, as well as
a writer and educator, she has been Klaasen’s biggest inspiration.
“What I most admired in her,” says Klaasen, “was her perseverance,
belief in herself and her independence. She did not care what people
thought of her, whether she was successful or not. She studied and
wrote about the history of architecture because she was passionate
about it. She wrote about her experiences bringing up her children
during the war, wrote children’s books to share the stories she
taught her children, because she believed in it and just wanted to
share it.”
And over the past 26 years as his own boss, Klaasen’s own
“persistence and belief have always kept me going,” he says. And
passion, too. “While I was passionate creating beautiful lighting
projects at the beginning of my career, I am now passionate about
sharing my knowledge with the new generation,” he says. It is this
passion that motivates Klaasen to blog, write articles, and speak at
lighting event seminars about “how lighting can be used to improve 073

direction of the award-winning lighting designer’s

life and career, too. “Of course I do admire
groundbreakers like Zaha Hadid, Jean Nouvel,
Philippe Starck,” he says, “but they are not the
essential motivators in my life.”
Gerrit van den Beld was, however, such a person.
Van den Beld was his boss and mentor at Philips.
He taught Klaasen how to pace himself and “how
to take things one at a time, sleep on problems
rather than react emotionally,” he says. “He
was instrumental in forming my lighting design
Klaasen worked at Philips after graduating with
a master’s degree in Industrial Design from
the Technische Hogeschool in Delft in The
Netherlands. “As I like building and creating
things,” he says, “I settled on industrial product
and look after the world we live in,” he says. design…Industrial design teaches you the process
His own contribution to doing that is made of design, from concept to realisation and till
through projects mostly in the area of hospitality, today it has been the foundation of my successful
commercial, corporate and public building lighting career.”
and residential urban developments. “Good When Klaasen finished his studies he started to
lighting design contributes to more comfortable look for a job at Philips, where he had completed
Above His Majesty’s Theatre in Perth. and pleasant environments, easier way-finding, his final master’s degree project, which was
The lighting concept was to respect the and beautification of the cities we live in,” he says. “designing an intelligent washing machine that
theatre’s iconic architecture as well as
honouring its great theatrical history. “Most of all it is the way we achieve it through could read the laundry and decide the washing
MKLD used static neutral white light
(3000K) to bring out its architectural our sustainable approach, minimising energy program by itself,” he says.
façade features such as the balconies and
columns. Colour (initially blue only, later
consumption, capital and operational costs. Added Among the job opportunities on offer to him was
RGB) was only brought into the semi- value creation through good lighting design.” one of lighting designer at the Philips Lighting
transparent canopy awning at street level
to express the theatrical side of the venue. Over the years, other people have influenced the Design and Engineering Centre in Eindhoven.

R&D Centre
in Seoul

KKDC R&D Centre

28, Magokdong-ro 8-gil
Gangseo-gu, Seoul
Korea, 07793

The recently completed Alila Yanghsuo Hotel

and Resort project in China combines old and
new. One of Klaasen’s sketches for Yangshuo
was made as a t-shirt, now available at the
hotel’s retail shop.

“I was immediately fascinated by this group Tony Corbett of Anthony Corbett Associates and
of people,” he says, “designing the lighting BAA’s Barry Arnold.
for Olympic Games, big commercial hotel It was only when Klaasen arrived in Singapore and
developments and so much more. I decided there met Tony Corbett did he realise “there was such
and then on the spot to take this exciting job and a thing like an independent lighting designer,”
never looked back.” he says. “Inside my protected corporate Philips
Also making Klaasen’s list of people that have cocoon, I basically only knew of Philips product
had the greatest influence on his lighting career and was limited to using their products to design
is American businessman and author Robert anyhow.”
Kiyosaki. “He gave me insight on becoming more By 1990 Klaasen’s job future at Philips was
business savvy,” says Klaasen. “Good designers uncertain as the company “was going through
are not necessarily good business people and I severe restructuring,” he says. At that time,
certainly was not when I started my business.” though, American lighting designer Barry Arnold
Klaasen started his own business in 1991, after asked Klaasen whether he was interested in
moving to Singapore in the late 1980s for Philips, joining him. Intrigued, and because he had been
who had tasked him to “set up what at the time thinking about starting his own practice due to
was called the Support Centre for Professional his uncertain future with Philips, he decided to
Lighting in Singapore,” he says. leave the company. However, not to work as an
Experiences and events that eventually motivated employee of Barry Arnold, but “in a cooperation
Klaasen to leave Philips were an uncertain future with my own company [Lumino Design
at the company and meeting lighting designers International] which I incorporated for that

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Left Klaasen presenting the Lighting Design Agora (LDA), which takes
place during the Shanghai International Lighting Fair. The LDA is the
combined brainchild of the Chinese Lighting Designer’s Association
(CLDA, Lear Hsieh), its International Advisory Council (IAC, James Wallace
& Martin Klaasen) and Messe Frankfurt Hong Kong (Scarlet Mak). LDA
aims to bring together the lighting designers (international, regional and
local), the design and engineering industry (architects, interior designers,
electrical engineers), the lighting manufacturers and the key players
in the industry like developers, operators, governments and other
end users. Each play a role in the final success and quality of a lighting
project installation and therefore creating a platform for dialogue,
communication and value awareness between all key players is crucial
in creating a better general awareness of the benefits of better quality
lighting and lighting design.
The ‘centre court’ of the LDA is a speaker’s arena where international
and regionally well-known lighting experts share their experience with
the public in an intimate and controlled environment. The three day
event consists of a two day international event organised by the IAC with
international and regional speakers and a one day event with well known
local lighting designers organised by the CLDA.
Below A render (left) of the Atlas Bar (Park View Square, Singapore) and
the resulting lighting scheme (right).

purpose,” he says. of our work towards our client,” he says—and

Things didn’t work out though. Conflicting ideas rebranded himself as Klaasen Lighting Design,
about how they would be working together meant opening for business at the start of 2011.
that Klaasen left shortly after. Since then KLD’s lighting design work has
Working from home, a few projects that Philips included the Mandarin Oriental Majapahit Hotel
had passed on to him, such as the Sheraton Surabaya; the Eastern & Oriental Hotel Penang in
Senggigi Resort in Lombok and the Melia Purosani Malaysia; His Majesty’s Theatre in Perth; the Atlas
Hotel in Yogyakarta in Indonesia, and The Raffles Bar at Parkview Square Singapore, and the recently
Hotel in Singapore, which was in its final stages, completed Alila Yangshuo Hotel and Resort project
kept him going for the first few months. in China.
The company expanded through the 1990s, but Having been in the lighting business for so long
the financial crisis in the latter part of the decade now means that “lighting has gradually become
drove Klaasen to set up in Perth, Australia, where an integral part of my life,” says Klaasen. “I live
he bought a stake in a local firm, Lighting Images, and breathe lighting and lighting design now. It
eventually taking it over in 2000. is a constant in my life. Certainly, as a business
Lighting projects in Perth included the Burswood owner you need to have a constant eye out for
International Casino’s Main Entrance and Gaming opportunities, to be alert to trends and technology
Hall, and the Riverside Drive and Foreshore advances, look and learn from what others are
along the Swan River. Both projects won later IES doing. This is not a nine-to-five activity. It is a
Australia and New Zealand Lighting Awards. permanent and continuous part of life. We learn
In 2010 Klaasen decided to sell his stake in from others, good and bad. Over time you learn to
Lighting Images—“I could no longer identify appreciate what others do or learn from what they
myself with the direction we were going, quantity failed to do. It motivates and inspires me to do
over quality of design, so I wanted to regain full better.”
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3664.16 Spectral Cheesegrater Ad-Mondo.indd 1 01/12/2017 13:25

Illuminating Work
Benz Roos, Senior
Lighting Designer
rtificial lighting and the workplace have a long,
entwined history. Such lighting makes it possible

at Speirs + Major,
for us to work after dark, and has contributed to the
evolution of the design of workspaces – including
the now ubiquitous office towers with their large

offers his opinion

deep floor plates. Today, people work on bright
screens, which are light sources themselves:
Tablets, phones and laptops make working a mobile activity, taking

on the best ways

people away from traditional offices, and allowing them to work wherever
they find it most productive.
Indeed, while the homogenous open-plan workspace filled with desks is

to illuminate the
still the most common paradigm, another series of spaces have emerged.
These are designed to accommodate different tasks and the varying
needs of workers. On the periphery of the office-floor we now find

meeting rooms, break out spaces, VC booths and concentration areas. The
workplace is evolving further, to become not one space, but a collection of
spaces designed for different purposes.
If we look at things from a lighting design perspective, ever since efficient
light sources made deep open-plan office buildings cost effective, there
has been something of a fixation on light levels, energy efficiency and
glare control. Over the past few decades, these three design objectives
have been optimised and harmonised in a reductive design process aimed
at creating the perfect office luminaire. With the resulting fixtures often
installed in a 3x3-metre grid, the illumination of the open-plan office is
now almost flawless: glare-free and softly lit.
This now well-used approach has one major drawback however; it
creates a flat, visually undefined and unstimulating space. These
characteristics do not fit with the shifting philosophy of the open plan
with its series of peripheral task-specific areas. It certainly does not suit
a dynamic way of working.
While most guidelines are still prescribing illuminance levels of 350 or
500 lux, surveys conducted in the course of our work have shown that
most people actually prefer a much lower light level on their desks.
In many cases, workers dim down the lighting if they are able to. This
begs the question: why do these people lower light levels in their work
environment? One reason might be related to the visual comfort of
modern LED luminaires and an unsuitable distribution of light within
the space. While most office work takes place on screen in a vertical
plane, standards and guidelines continue to refer to the main work
surface as the horizontal plane, and luminaires continue to be designed
to deliver light there. It might be that desk-based workers do not
necessarily think their environment is too bright, but that the luminaire
creates visual discomfort.
To reduce the potential for discomfort, and to create that all important
‘pleasing environment’, the light across an interior space needs to be
carefully balanced and composed as a visual hierarchy. In such a grading,
the most critical element contained within a person’s view should be
the brightest. For many workers the crucial vista is their screen, and
it follows that as a light source it should be the brightest element.
This would then be followed by the essential elements that define any
space, such as the ceiling, walls and partitions. Yet, if we look to most
modern office lighting, this hierarchy is not achieved. In one example
we measured a series of diffused low glare pendants suspended above
desks and found these luminaires to be approximately ten times brighter
than the screens below (3000cd/sqm vs 300cd/sqm). This high contrast
in brightness creates an imbalance in the visual hierarchy, causing
discomfort. We believe that it may be factors like this that drive people to
dim the lighting.
Benz Roos, Senior Lighting Designer at
Speirs + Major Another example can be found on a current project, where the client

Workspace lighting

The lighting of Rogers Stirk Harbour + Partners (RSHP) office in the Leadenhall building in London was considered a crucial aspect of the design, and
long-term collaborators Speirs + Major were asked to contribute to the development of a technologically innovative, visually appealing, and consistent
solution. The space features a beautifully detailed ceiling, with exposed services, finished in predominantly dark grey. The team conceived of a circular
fitting that would create strong visual impact against this background, while fulfilling the general lighting needs across the varied spaces. Spectral’s
Iris, the selected fitting, has a bright semi-transparent crystalline appearance, and is set within a bespoke trimless 750mm white dish, to soften
contrast. This solution appears in two forms – suspended (above), or surface mounted (right) version set within a perforated metal ceiling plate. In an
unusual detail for general office lighting, these fittings are mounted on a network of 3-circuit track. This solution offered multiple benefits – as well as
simplifying installation and controls, it offers the future flexibility to add and move lighting, while keeping the ceiling clean and orderly.
As the typical working hours in an architectural practice tend to stretch into the night, RSHP were keen to understand and explore how the use of
colour-temperature tuneable white light might provide potential physical and psychological comfort for their team.
By using technology that allows the lighting profile - in terms of its warmth or coolness - to be adjusted automatically throughout the day, the
internal environment can be more closely aligned to natural circadian rhythms, and to suit the preferences of the people using the space. The initial
programming is designed to move the Iris slowly from warm in the early morning (above right), to cool through most of the day (above) - to facilitate
concentration - and warming up again late afternoon, providing visual comfort as natural light fades.

determined that visual comfort and low glare were absolutely In parallel to the need for improved visual comfort and wellbeing,
crucial for their workspace. In response, we set a very challenging energy saving is becoming more and more critical. Local authorities
performance brief for the LED luminaires in our design, and requested around the world are beginning to restrict energy consumption of
samples to test. Six products were considered as part of a mock- buildings. By example a current office project in London included
up. Of these, only two met the tight performance criteria set in the a strict target for energy efficiency as part of its formal approval.
design brief. Interestingly, these both featured traditional louvred The office lighting must comply with an efficiency target of
optical systems, which acted to soften the LED distribution such that 1.7W/100lx/sqm. In other cities, like Hong Kong statuary government
it resembled that of a classic T12 or T8 fluorescent light source. This requirements state 7W/sqm for office lighting.
would seem to suggest that the soft light of these classic light sources Today’s smart lighting control and sensor technology are helping to
is still more suitable for offices than the hard light emitted by the make a significant reduction in energy consumption. However, at the
current raft of LED-based fixtures. time of writing lighting control cannot often be taken into account
Improving the wellbeing of office workers is something that has for statutory requirements. Therefore to meet these strict codes,
become a central concern for employers – and improved visual the possible lighting methodologies are extremely limited. In our
comfort is certainly beneficial in this regard. High contrast in experience, the only way to comply with direct regulation is using
luminance intensities between the screen and overhead luminaires direct light components.
makes our eyes continuously adjust. Constant adaptation not only Given all of the above regarding visual comfort and energy
causes tiredness but can also result in eye fatigue, headaches and consumption, it appears that still the best way to achieve a compliant,
contributes to eye strain. pleasant, working environment is to default to the classic lighting
Some research also shows that differences in colour temperature can approach of yesterday. If this is the case, where are the opportunities
contribute to eye fatigue. The colour temperature of white on screen for improvement in lighting of the workplace tomorrow?
matches cool daylight (6500K), yet many offices are illuminated in We believe in the need to create a fundamental shift in thinking -
neutral white light (4000K). This difference in colour also makes the moving the primary task from illuminating desks to that of creating
eye continuously work to balance the white tones, which could also well-balanced and interesting visual environments. Lighting should
contribute to eye strain and tiredness. be harmonised in colour and intensity with the main office light
Recently companies such as Apple and F.flux have begun making source; screens. Proven decades-old lighting technology and design
screens that adjust in colour temperature during the day/evening, strategy still have their place, but what is exciting for lighting design
designed to support ‘natural circadian rhythms’ and so improve well is where we begin to address the difference in functionality and
being - something that the lighting industry has been exploring for atmosphere needed in the peripheral areas around the traditional
some time. To date these explorations have been flawed to some open-plan space. These spaces provide us with the opportunity
degree, given that the primary light source – the screens – were never to create properly balanced schemes. They can also provide an
included as part of a dynamic lighting system. For circadian rhythm opportunity to design the energy consumption more efficiently. In
lighting to work properly, every light source in a space should change these areas we can create moments of intense illumination and bring
its colour temperature. Now, with this current screen technology there dynamism to the workplace that is more aligned with our modern way
is a real opportunity to explore a full dynamic lighting scheme that of working. In the future, office lighting might still be soft and calm,
may support circadian rhythms better – although with the modern however we can use the periphery to inject brilliance and contrast for
work force so mobile, it is difficult to imagine the possibility of being an much more enlivening spatial experience.
able to manage all the sources of light they are exposed to over the
course of a day. 081
Coming into Port
Zaha Hadid Architects merge old and new together
in this juxtaposing creation, with lighting designs by
Ingenium and Inverse.

workspace lighting

Havenhuis, Antwerp, Belgium
Client: Antwerp Port Authority
Architect: Zaha Hadid Architects, UK
Lighting Design: Ingenium, Belgium (Interior)
Inverse, UK (Exterior)

Pic: Bart Gosselin 083
workspace lighting

Pic: Thomas Mayer

aha Hadid Architects have renovated brought together the old and new in this project,
and reimagined the new headquarters transforming the old fire station into a vibrant new
for the Antwerp Port Authority, workplace for those in the Antwerp Port Authority.
the Havenhuis, with an expressive The main lobby area of the headquarters is situated
structure. Positioned above a disused, listed fire in a central courtyard, which has been covered with
station, the multi-facetted façade sparkles with a glass roof to create an outdoor/indoor room. The
reflections of sunlight and the surrounding water. fire truck hall now accommodates the library with
The new structure is commonly referred to as the lower floors of the new extension connected
either a diamond or a ship’s hull and provides a to the upper floors of the older building through
fascinating juxtaposition of modern and historic a seamless communicative core, which also holds
architecture. The mixtures of glass panelling on space for restaurants, meeting rooms and an
the exterior of the structure provides a dynamic auditorium. The highest five floors are home to
nature to the architectural merge, emphasising a varied office landscape for approximately 500
the contrast between the modern glass and the employees. With an array of unconventional office
traditional stone box below. fixtures, such as trapezoid shaped desks, curved
Renowned creators of exceptional design, Zaha stairways and angled pillars, it was important for
Hadid Architects have not disappointed with the lighting to fit in a similar vein.
this feat of architecture and have seamlessly For the internal lighting scheme, Ingenium were

Pic: Thomas Mayer

Previous page Twilight at the Antwerp

Port Authority building, the Havenhuis.
The blue sky and blue water create the
perfect backdrop for the twinkling ship’s
hull look-alike.
Left The Havenhuis during the daytime
shows off the sunlight reflections created
by the uneven glass façade.
Above Inside the unconventionally shaped
office space, a meeting room takes

“The focus of the lighting

advantage of the quirky shape, with angled
furniture and linear lighting.

scheme was to emphasise

the architectural experience
but also to stay strong
to the client’s desires of
creating a comfortable
working environment.”
Joost Verstraete, Ingenium

brought onto the project back in 2009 through wishes of the architect on the other side. These
Zaha Hadid Architects and their Belgian design were not always complementary. We solved this
partners, Bureau Bouwtechniek, who earned their by having numerous meeting sessions with both
place to provide the main technical concepts parties, in which both sets of demands eventually
via an architectural competition. Ingenium’s grew towards each other.”
Project Manager Joost Verstraete discusses the Despite these challenges and changes they had to
journey taken to input the lighting design and work through during the project, they managed to
how the concepts were adapted over time to fit remain strong with their original lighting design
the needs of the clients and the building: “The and accomplish the final scheme.
focus of the lighting scheme was to emphasise the Using a combination of multiple fittings,
architectural experience but also to stay strong particularly from Multiline with Tridonic LED
to the client’s desires of creating a comfortable components, Ingenium designed a scheme that
working environment throughout the building, would be able to adapt to the unconventional
which in turn demanded high technical demands interior design of the new extension. There were
and specs for lighting.” Verstraete explains. some limitations and small spaces to work with in
“The main challenge was to find a compromise some areas, and exposed structural beams revealed
between the high comfort demands of the landlord in the older sections where certain fittings proved
on one side, and the architectural/aesthetical difficult to put in place, for example the lighting 085
workspace lighting

Pic: Bart Gosselin

lines in the circulation zones. On top studies taken to complete the design at already been very pleased with the LED
of this, the team had to devise a design the beginning.” modules from Tridonic that we use in our
that would be as clean as possible for Using Multiline, a Belgian luminaire standard products. It was therefore never
the suspended ceiling, i.e. ensuring the manufacturer, a special solution was in doubt that we would also use them for
lighting lines are integrated seamlessly to developed to create an easily integrated the special luminaires for the Havenhuis.”
make room for other elements such as fire internal lighting system that is a As with many large-scale projects, it
detectors, water sprinklers and movement recognisable analogy for the architecture. is difficult to organise all contributing
sensors. Utilising Tridonic’s know-how in LED participants of the design and building to
Furthermore, the lighting brief also technology, Multiline adapted one of their simultaneously coincide with each other.
factored in the support of the outside view standard luminaires to fit specifically into Once the luminaire manufacturers came
of the building at night. this project as part of Ingenium’s lighting on board with this project, the ceiling
Verstraete continues: “All the lighting design. structures had already been determined,
elements were chosen for their functions Creating an elegant scheme for the thus requiring a specific profile width
that suited the aesthetical demands by internal offices, Ingenium were keen to of 90mm. In total, there was roughly
the architects, the technical and comfort highlight the structural elements of the a kilometre of Multiline strip lights
demands of the landlord and the energy magnificent building, whilst in keeping equipped with Tridonic LED components
efficiency features. In the end I think with the elegance of the building and it’s that were installed to accommodate the
we managed to combine aesthetical smooth, clean lines. To emphasise the individual room geometries. Due to the
and technical demands, and that the contouring of the rooms, strip lighting complex internal design of the building, it
lighting works very well to accentuate the was integrated into the ceiling, creating was essential to find a flexible LED system
architectural experience in the way the graphic patterns regularly repeated that has the ability to integrate into the
architects had in mind at the beginning. throughout the space. individual specifications.
The only thing that didn’t work out very Stijn Pittomvils, the project manager for Furthermore, as with many new builds,
well in this project was the length of Multiline, describes the process: “We have it is important to consider the impact of


ghpowerLED l

LED spotl

LED appl

OEM/ODM avail

workspace lighting

Pic: Thomas Mayer

Pic: Thomas Mayer

Pic: Bart Gosselin

energy usage and how it is possible to reduce several possibilities of integrating lighting. Previous page A close up of the rear of the
building emphasises the intricate panelling
consumption levels as much as possible. Nevertheless, it did allow them to do of the glass surface. Each panel reflects a
different angle of light, creating the twinkle
This was high on the agenda for the lighting extensive testing on an on-site mock up, diamond effect unique to this building.
in the Havenhuis, so presence and ambient Left The underdeveloped port area of
practicing to create the desired effect on Antwerp gives the Havenhuis a blank sky
light sensors were installed throughout the complicated, irregular glass cladding. backdrop, allowing its diamond reflections
to be cast afar for many to see.
to ensure the light levels are controlled to Agresta continues: “Since the port authority Top A close up of the rear of the building
emphasises the intricate panelling of
suit demand at all times. Run through DALI owns the roads around the harbour and the glass surface. Each panel reflects a
with LED drivers, the sensors are part of a the technical team was very hands on, we different angle of light, creating the twinkle
diamond effect unique to this building.
comprehensive sustainability and energy had the great opportunity to install lights Below A corner seating area looks out
across the port area of Antwerp. Simple,
efficiency concept put in place, which in turn on lamp posts and shooting over streets. smooth furniture and accessories with
curved edges are juxtaposed against the
received a ‘Very Good’ BREEAM rating for We tested conventional floodlights as well jagged straight lines in the architecture.
environmental construction. as high-powered narrow beam projectors Next Page Sleek lines and minimal design
look clean and chic in this walkway.
Lighting the external façade of this building shooting at the building from a distance to
was left to the capable abilities of Inverse. make the multifaceted building sparkle like
When discussing the project with Nicola a mirror ball and mimic the effect of sunlight
Agresta, Project Manager of Havenhuis, he hitting the building during the day. The
gave us a detailed look into the journey they mock up gave us a reference point for the
went on to create the lighting scheme, “Filip brightness the client wanted to achieve, and
Vermeiren, one the of the Inverse directors from there we ran computer simulations to
who is originally from Antwerp, was asked by finalise the layout. The mock up also helped
Joris Pauwels [Zaha Hadid Project Architect] to choose which light colour temperature
to provide advice on the lighting layout.” worked best on the building in relation to the
Inverse was appointed towards the end surroundings.”
of the project when the building was near Not only did Inverse have to tackle the
completion, which gave them three months limitations of time, they were also widely
to install and finish their lighting scheme restricted with their location options for
before the official opening deadline on lighting installations, as it was not possible
September 22nd, 2016. This proved a major to put any fixtures onto the surface itself,
challenge for those at Inverse, limiting they were merely allowed to use existing

th th 2018
rch 18
hall 4.2
booth E 5

Hydroeclipse TOTA L E C L I P S E
I TA LY 2 0 1 7

A new range of outdoor wall-mounted
appliques including 10 different models
of round, square and rectangular shapes.
Used mainly for decoration of outdoor areas,
once switched on the Hydroeclipse range
creates a beautiful luminous halo,
discrete and elegant, that highlights the wall texture.
With a depth of just 33mm and surface-mounted, the
most representative shape is the round luminaire,
that seems to recreate a lunar eclipse effect. Italian Architectural Lighting

PUK_ADV_Hydroeclipse scelta_236x333.indd 1 04/12/17 16:50

workspace lighting

Pic: Thomas Mayer

street poles surrounding the area. This in only saved us lots of precious time but it LIGHTING SPECIFIED
itself also proved difficult, as the poles were was also the perfect approach to convince
Bega 8826 in-ground
restricted to holding a certain amount of the client of the correct direction, as a direct Bega 2222 in-ground
weight, which reduced the number of lights visual impression overcomes all renderings Bega 8756 in-ground
Bega 8602 in-ground
they could place on each. and calculation. The client was very hands Bega 8351 surface washer
The final outcome saw the installation of on and had the power to do things such as Bega 77881floodlight
a combination of fittings from Indelague, mounting lights on street poles, which would Bega 77882 floodlight
ETAP UT1860 recessed
Trilux and Zumtobel, to name a few, as normally be very difficult and a long process ETAP E62 batten
well as six Bega floodlights mounted to the with a general public authority. For Filip this ETAP E65 batten
ETAP E5207 batten
roof and 22 on existing poles surrounding project was particularly special as it was set
ETAP R3 profile
the building, resulting in an elegant in his home town.” ETAP R4861 suspended
finish, respectful to the state-of-the-art The scale of this project demanded an ETAP emergency lighting
HALLA Lina linear
architecture. extreme amount of collaboration; time Indelague CT-AVT PMP EP 830 waterproof
Agresta describes how it took a very different and effort from everyone involved, from Indelague RT-TRN batten
Indelague EX-XSL batten
approach to other projects they have worked the client, the architect and lighting
Lightnet Basic M-2 recessed
on in the past: “The process was different, designers. The final result of lighting this Lumco Lumline batten
much more intense and with a practical grand structure by Zaha Hadid Architects Lumco LCHA cove
Lumco single side LED-strip
approach. Usually we work on projects that compliments the detailed construction, Multiline Rekta 40-90 suspended pendant
are not built yet and we run calculations, bringing it to life in a fantastical way. It is strips (incorporating Tridonic LLE-G3-24
modules and LED Drivers)
renderings and tests to make sure the final a glimmering beacon of architecture and
Osram Powerstar HQI-T lamps
result will achieve specific light levels. For lighting brilliance that can be seen from Sammode emergency lighting
this project, we worked almost in the other afar and will remain as a iconic stamp on the Regent Solo circular recessed
Trilux Fidesca recessed waterproof
direction, starting with a mock up on an Antwerp landscape. Van Lien IND 08 batten
existing building to achieve the requested Zumtobel Perluce O waterproof
light level and then run the computer Zumtobel ZE batten
Zumtobel KXA-2 batten
simulation to finalise the design. This not

Photo: Gary Rowsel

Mills & Reeve refurbishment project

Modern, innovative and green

Scan to see “Help us create a bright, modern and innovative workspace”.
more about our This was the brief Glamox received when the law firm Mills & Reeve
products wanted to bring their landmark building in Norwich up to date.
The result is well received by both customers and employees. Please refer to our website
for information about
our 5 year warranty.
With Light
The new interior lighting design for the ING Bank
UK London office, designed by Nulty, blends the
old and the new, bringing a modern flair, while
delicately illuminating the fine art on display.

Workspace lighting

ING Bank UK London office, London, UK
Client: ING Bank
Lighting Design: Nulty, UK
Architect: tp bennett, UK

Pics: James French 093
workspace lighting

Previous page On entering the reception area, ulty has completed the interior lighting design
a large suspended luminaire, constructed
from Optelma’s Quad Continuous linear for ING Bank UK London office (ING), delivering
profile, draws the eye through the expansive
area, enabling an uninterrupted view of the a concept that balances the bank’s heritage with
surroundings. its drive for innovation, and blends the delicate
Above Nulty installed XAL’s Move It magnetic
track lighting system with minimum visual illumination of art and craftsmanship with a reference to
impact that provides the four key layers of the
lighting scheme: down lighting, ambient light, the vibrancy of today’s modern working practices.
wall washing and spotlighting.
Above right In the café area, Nulty partnered From subtly illuminating the prize pieces of art, to washing light on
with sister company Nulty Bespoke to create a flat white, this new office space made use of every architectural
one-of-a-kind pendant luminaires above the
canteen tables, designed to create intimacy lighting design technique in Nulty’s repertoire. The London-
for diners.
based design firm was given a brief to create a lighting scheme
that worked seamlessly with the tp bennett-designed interiors,
adapting the latest in lighting technology to illuminate the quality
of materials while complementing the natural light that floods
through the expansive glass frontages of the client areas.
An integral aspect to the lighting concept was to deliver a scheme
that carefully balanced the illumination of the impressive
pieces of art with precise conservation requirements.
In order to get this just right, Nulty collaborated with ING’s art
curator, delivering an in-depth study on the impact of natural light
ingress and light quality on the different potential hanging areas.
With the intention to regularly rotate the pieces on display,
Nulty applied its expertise of gallery design to perform a daylight
analysis study, monitoring fluctuations in the direction and levels
of daylight throughout the office space across all four seasons,
as well as at different times of the day. The findings enabled
Nulty to help ING identify the best positioning of the artwork
to align the most appropriate pieces to specific display areas.
An important part of the lighting scheme on this project was to
deliver an integrated system using methods in harmony with
the clean lines and high quality of the client-facing spaces. To do


ING London Office | Interiors: TP Bennett, Lighting Design: Nulty, Product Design & Manufacture: Optelma.

“Working closely with Optelma,

we created various feature luminaires
for use throughout the building. The
large pendants in the reception made
a fantastic focal point, creating an
elegant and dynamic feature.”

Phil Copland | Senior Lighting Designer, Nulty

Contact our dedicated team: +44 (0)1235 55 37 69 | |

workspace lighting 097
workspace lighting

“The lighting concept

creates a sense of
cohesion across all
floors and reinforces
the ING brand
Phil Copland, Nulty

this, Nulty installed XAL’s Move It magnetic wall design is enhanced by illuminated Previous page The fifth floor café’s
impressive wooden ceiling design is
track system, adapting it to encompass Linea Light Group strips embedded within enhanced by illuminated Linea Light Group
strips embedded within the groves.
four different lighting capabilities, creating the grooves; an engaging contrast between Top An important part of Nulty’s lighting
flexibility and a vessel where a variety of light a traditional sense of craftsmanship and scheme was to deliver an integrated
system using methods in harmony with
sources could be used across the space. materials and bright illumination. clean lines and high quality of the client-
facing spaces
The discreet magnetic system has minimum It is within the café that Nulty teamed up Above Nulty applied its expertise in gallery
design to ING’s new lighting scheme,
visual impact and provides the four key layers with its sister company, Nulty Bespoke, to allowing the firm to effectively illuminate
of the lighting scheme: down lighting, ambient create one-of-a-kind pendant luminaires. the prize pieces or art on show throughout
the offices.
light, wall washing light and spotlighting. Positioned above the canteen tables, the
The individual spotlights are magnetic and personalised pendants provide intimacy for
can be repositioned to provide different diners and the use of company colours in the
variations of light, which can be perfectly design reinforces the ING brand to visitors.
matched to enhance the art and provide Phil Copland, senior lighting designer at Nulty,
ambient illumination to the surroundings. said: “Working closely with tp bennett and the
A challenge for the Nulty team was to create a client, we have designed an energy efficient
sense of cohesion across the client, reception and visually stimulating lighting solution. lighting specified
and break-out areas, all of which have their “The variations of light enabled us to create Flos UT Track & Spot
own identity. On entering the reception different identities for different areas and the Kreon Lighting Down Downlight
area, a large suspended luminaire consisting result is an integrated lighting concept that Range
of interconnected rings, constructed from is at the same time subtle, yet stimulating. LightGraphix Spike Mounted
Optelma’s Quad continuous linear profile It also creates a sense of cohesion across LED Spike & Inground Uplights
Linea Light Group Ice Cut Linear
draws the eye through the expansive area, all floors and reinforces the ING brand
the permeability of the pendent enabling an character, delivering a London office that,
Lucent Lighting Soft Downlight
uninterrupted view of the surroundings. alongside the interior design, creates Range with Xicato Chip
As the lift doors open on the fifth floor to atmosphere and engagement from employees, Optelma Quad Continuous
reveal the entrance to the Zest café, the clients, partners and those who visit.” Linear Profile
craftsmanship of the solid-wooden slatted XAL Move it 25

CCr reeaat ti ivvee LLi igghht ti inngg SSool luut ti ioonnsss


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Executive Office Building, Moscow, Russia
Architect: Aukett Swanke, UK
Lighting Design: LAPD, UK

workspace lighting

From Russia
With Love
LAPD has provided a full lighting design for an
executive office tower in Moscow, transforming
the building into a beacon in the cityscape of
the Russian capital.

APD Lighting Design worked on the interior, façade and
landscaped areas of this executive office tower in Moscow.
The approach to the façade lighting was to create a cage
of light around the building itself, connecting the top
and the bottom of the building. The client wanted the building to have
visibility from afar and so the entire top element was transformed into
a beacon-like lantern with prominence within the Moscow cityscape.
Cool white linear LED lighting with a carefully selected beam width
was used to light down glass fins cladding the building top. Various
test were carried out on different types of glass and different LED
optics to ensure that the fins held the light as much as possible
all the way down their length and lit the entire volume.
Clear glass with a frosted interlayer produced the best effect and the
best structural performance. Eight linear lines of light then ran down
the building, highlighting architectural details around the façade and
connecting the lantern top with the base of the building. Cool white
light was used to connect the cool white lantern with the cool white
lighting around the building base, forming the cage-like structure.
The linear LEDs from Insta were colour controllable and, on
the client’s request, the lines of light that framed the two- 101
workspace lighting

Meeting rooms and coloured expanses of façade were adjusted to match

the vivid glazing colours that were chosen.

smaller office spaces use a

A control system was specified to enable these lines of light to chase,
pulse, change colour and create different effects for special events.

combination of linear and

Grounding the ‘cage of light’ was achieved by highlighting all the
columns around the base of the building, along with the entrance
canopy itself, with a matching cool white light. The columns were

accent lighting, allowing treated as architectural elements by using a linear light source
concealed in a detail above the column. Again, using appropriate

bright, uniform levels of optics a sheet of light was created travelling down each column.
This avoided downlights visually scarring the canopy above and

light for meetings and low

creating unwanted scallops detracting from the pure forms.
The canopy needed to echo the experience of the building from

levels of accent light for

afar. As a result a frosted glass canopy was created that was
backlit using cool white LEDs. This created a similar level of
impact at low level to that created by the lantern from afar.

presentations. These architectural lighting treatments around the base of

the building balanced the strong lantern effect of the building
top but also contributed to the landscaping lighting.
General illumination to the entrance area and car parking areas
around the building was provided by using a lighting column from
the Hess City Elements range. These provided a neutral cylindrical
form against which the building could be viewed without conflict
from feature elements. The columns allowed asymmetric, symmetric
and road optics to be used from a column without a change in its
appearance. A warm, soft level of light was produced with low glare.
Feature lighting was provided to the furniture elements around the
buildings, while linear hidden lines of light were integrated into
the furniture in collaboration with the manufacturer to create a
soft warm glow under each seating area. Feature lighting was also
provided to uplight the trees themselves. These uplights were raised

Illuminating history in Austria! LED EXPERTISE SINCE 1977
Pic: © Karin Ahamer Photography

Eckartsau Castle, near Vienna, Austria

Lighting designer: Gunther Ferencsin In use: LED projectors from LEC’s Luminy range
Workspace Lighting

Open plan office areas

are illuminated by
suspending Zumtobel
Aero luminaires to
achieve the desired
illuminance levels on
the desks and on the
ceiling itself.

above floor level slightly to ensure they still building. These lines were framed within lighting specified
functioned during winter months where a carpet floating rafts that were covelit along all sides.
Ecosense linear Exterior HP wash
of snow resides across the landscaped areas. The developer moved into the tenth floor
Ecosense linear HP wash
As with all of the exterior lighting products and appointed LAPD to illuminate all of their
GE Lighting Power Grid
specified, they needed to be able to operate at office spaces. Lines of light illuminated the Hess Lighting City Elements
temperatures down to -40-degrees Celsius. naked concrete surfaces and Italian wooden Hess Lighting Livorno
Again, a soft warm colour temperature was walls in the reception, waiting and circulation iGuzzini LEDstrip
used to harmonise with the lighting elsewhere spaces. Square downlights from XAL are iGuzzini Woody
around the building base, and to contrast with also used to provide accent in key places. Insta 1060
Insta 4010
the cool colour temperature on the façade. Meeting rooms and smaller office spaces use
Kreon Prologue 80 range
Lines of staggered light mimicking those a combination of linear and accent lighting
LEC Lyon Brunei
running down the façade were recessed within troughs from Kreon. This allows control Linealight Loro
into the ground to lead occupants from the to provide bright, uniform levels of light for Viabizzuno Trasparenze
roadside right up to the building canopy. meetings and low levels of accent light for Whitegoods Edgeless cove
Once inside the building these strong linear presentations, along with options for variations Whitegoods 60 Round
lines of light flip up onto the ceiling of the between the two. The linear and accent lighting Whitegoods 60 Square
XAL Edge
reception area to continue the draw into the was designed to match in colour temperature.
XAL Invisible Square
building. Four continuous lines of light from Open plan office areas are illuminated by
XAL Minimal Range
XAL were used to draw the eye towards the suspending Zumtobel Aero luminaires XAL Mino
feature wall at the end of the reception space. to achieve the desired illuminance levels XAL Tula
This feature wall was created by using on the desks and on the ceiling itself. Zumtobel AeroII
continuous linear LEDs with a six-degree There was also a strategy written up by LAPD Zumtobel Supersystem
optic to graze light up the back wall, which to ensure that tenants within other floors lit
consisted of a suspended horizontal, linear their offices in such a way that the building
mesh. The front of the wall was constructed had a homogenous look at night from outside.
from cast, layered glass orientated horizontally. This included requirements to conform to
The resulting moiré pattern effect between different orientations of lighting in different
the backlit mesh and the front layered glass areas but still provide flexibility within their
was an intriguing shimmer that continually design. The strategy included a decorative
changed as the viewing angle changed. treatment to all interior columns for all floors.t
Lines of light were also used within each lift
lobby, continuing the theme throughout the 105
Olympic Legacy
Located at Here East in Queen Elizabeth
Olympic Park, Plexal’s innovation centre has
been given a dynamic, modern and flexible new
lighting scheme, courtesy of Cundall Light4.

Pic: Scott Kershaw

Workspace lighting

Plexal Technology Innovation Centre,
London, UK
Client: Plexal
Lighting Design: Cundall Light4, UK
Architect: Grimshaw, UK 107
workspace lighting

Pic: Scott Kershaw

Previous page The 68,000-sqft Plexal undall has delivered MEP and lighting Square, a bustling entrance for visitors,
is a bustling hub designed to support
technology enterprises both young and design for Plexal, the 68,000-sqft incorporating high-top flexible hot-desking
established in a ‘mini-city’ environment.
Above The innovation centre features innovation centre for technology spaces, a café zone and a 5-metre-high green
a number of communal workspaces, entrepreneurs and enterprises located wall with screens streaming live business data.
including Plexal Park, a 200-seat, multi-
purpose events space. at Here East within Queen Elizabeth Olympic Park. Contributing to the wellbeing of Plexal innovators,
Occupying the former broadcast and press the centre includes ample community spaces,
centre for the 2012 Olympic Games, Plexal green areas with indoor planting, and casual
forms part of the London 2012 Olympic environments to wind down or work in a more
Games legacy and is designed to support relaxed atmosphere. Lighting can be programmed
young and established businesses to work to match natural circadian rhythms, and private
collaboratively as a community in a mini-city. phone booths dotted along the high street
Inspired by the principles of urban planning, provide respite from the hustle and bustle.
architects Grimshaw developed a design that International multi-disciplinary engineering
emulates a cityscape, with mixed-use spaces consultancy Cundall previously designed
that lead from a central high street, including the fit-out of the International Broadcasting
public and private spaces, streets, squares and Centre, which accommodated more than 10,000
civic areas. Spaces are designed to intersect broadcasters, photographers and journalists
and weave together, contributing to a sense of during the Games. Cundall was selected for the
community, while each zone has its own distinct Plexal because of its knowledge of the site and
identity within the various quarters. The building for its data centre development expertise. In
also comes complete with events spaces, an occupying the former broadcasting centre, Here
indoor park and an interactive living wall. East (and Plexal) inherited a data and connectivity
The innovation centre is divided into a ground infrastructure that is unrivalled in Europe.
and first floor layout, where a street mezzanine Steve Cook, Cundall Building Services Partner, said:
structure allows open-plan workstation “This project has seen a clever reuse of an existing
areas to sit above the ground floor’s private space and system, not only creating a major change
offices. Other office spaces are formed using in use and additional space, but at the same time
a high-performance ‘kit-of-parts’ Tecno retaining the majority of the existing systems for
partition system, which can be reconfigured the future benefit of the occupants. The finished
to accommodate expanding and contracting Plexal HEIC has great daylight penetration,
businesses, or to set up new work areas. views to the canal, lots of fresh air for occupants
The ‘high street’ layout offers a range of quiet and a visually fantastic lighting scheme.”
and social areas, including Legacy Place, a The lighting design for Plexal needed to
contemplative place to work, and Monument match the dynamic nature of the start-up


MondoArcFullPage.indd 1 06/10/2017 10:29:09

Pic: Darrin Jenkins

workspace lighting 111
workspace lighting

Pic: Darrin Jenkins Pic: Quintin Lake

companies that would occupy the space. The while providing a glare and shadow free planar light. Previous page Private office spaces in
Plexal are formed using ‘kit-of-parts’
offices needed to incorporate modern technology As well as private office spaces, Plexal’s design Tecno partition systems, which can
be reconfigured to accommodate
and inspirational new ideas, creating a space features civic spaces, a Makers’ Yard (where expanding and contracting businesses,
where people want to spend time and innovate. rehearsals, events and prototyping can take place), or to set up new work areas. Cundall
Light4 specified Osram DALIeco Swarm
Ashleigh Dolan, Lighting Designer at Cundall an events stage and Plexal Park, a 200-seat capacity adaptors for lighting control, meaning
that when a start-up company expands,
Light4, said: “The lighting needed instant flexibility multi-purpose events space, all feeding back to the lighting can easily be adapted without
any re-wiring or re-commissioning costs.
– a start-up, for instance, may require two people spine of the building and the central installation. Above left The triangular motif
one month and 20 people the next as it grows. The simple triangular motif throughout throughout the centre was designed to
represent the coming together of ideas,
Flexibility in lighting design is about two key represents the coming together of ideas, which to inspire its occupants to create great
elements, the ability to move the luminaires to strive to inspire its members to create great Above right The streetscape is
supplemented by a recognisable
where they are needed and the ability to quickly things. The streetscape is supplemented by a formal array of lampposts that help to
and easily re-programme the lighting controls.” recognisable formal array of lampposts that reconnect the internal spaces back to
the community beyond.
Cundall Light4 opted for Trilux desk-mounted help to reconnect these internal spaces back to
task lights as they not only focus light where it the community beyond. Pocket ‘parklets’ and
is needed, but can be moved with the desk as planters have been softly lit to supplement the
the company grows and reorganises. To support central feature lighting and when night falls,
the flexibility of the lighting, integral Passive the feeling of the space changes dramatically.
Infrared Sensors (PIRs) were also specified. In Makers’ Yard, Cundall Light4 has used standard
Cundall Light4 specified Osram DALIeco Swarm biodynamic flat-panel lights and acoustic panels
adapters for the lighting control. The controls are to create an abstract factory north light. Taking
set up with just a screwdriver to select the zone and inspiration from the glazed north lights found in
luminaire group and means that when a start-up traditional warehouses, flat-panel luminaires from
company expands they simply need move a wall, Trilux and Fagerhult hang on an angle adjacent to
desks and desk lamps with no expensive re-wiring acoustic fibre board to give the impression the ceiling
or lighting control re-commissioning costs. Plexal is open to the sky. The solution is well designed
is currently Osram’s largest Swarm installation. to provide the high illumination levels required
The Trilux desk mounted lights were adapted for the specialised prototyping and making, while
to integrate the Osram Swarm units, which use giving the room the feeling of spaciousness.
radio frequency bi-directional communication The adaption and modification of the existing
between the luminaires, sensors and switches. open-plan space within the original broadcasting
“The Trilux luminaires have both the style centre to form flexible and modular office
and light qualities which we required for accommodation, meeting rooms and conference
this project. The integrated detectors and facilities called on a number of smart engineering
simple to use and commission controls gives solutions from the Cundall Building Services
the end users ultimate flexibility,” added team, as well as collaborative working.
Andrew Bissell, Director of Cundall Light4. “Everyone wanted different things with different
Another special solution designed specifically for this priorities, so Cundall sketched up numerous options lighting specified
project used the highly energy efficient Trilux Arimo with clear graphic representations showing the
Ateljé Lyktan HOOD
fittings. The usually suspended, clean, pure white, advantages and disadvantages of each engineering Fagerhult Combilume
slim LED panels have been adapted to attach to the solution,” added Cook. “This allowed all parties to Osram Swarm control
acoustic rafts in the industrial style areas. The result understand and buy into a common consensus.” Trilux Arimo
creates a minimalist, abstract floating appearance,
 Trilux Simga

Open Book
New York-based One Lux Studio has created a lighting
scheme for the newly renovated headquarters of Wiley
Publishing, utilising both direct and indirect light to open
up and revitalise the formerly dark, enclosed space.

Wiley Publishing, New Jersey, USA
Client: Wiley Publishing
Lighting Design: One Lux Studio, USA
Architect: TPG Architecture, USA

Pics: xxx

workspace lighting

Pics: Eric Laignel 115
workspace lighting

“Careful attention was

placed on creating
interesting arrival
and circulation design
solutions, and the
workstation areas
had a ‘neighbourhood’
Stephen Margulies, One Lux Studio
Previous page The new public areas of the
Wiley Publishing offices incorporate playful
elements such as zig zags, angular and organic
patterns of lighting, courtesy of Birchwood,
Peerless and EcoSense, to blend into the
ceiling system, revitalising the space.
Above Keen to move away from ‘monotonous’
lighting solutions, careful attention was placed
on creating interesting arrival areas, like the
entrance lobby.

iley Publishing, formerly John Wiley & Studio explained how the new scheme helped
Sons, has been in operation for more to transform the offices post-renovation. “The
than 200 years, since its inception as a existing space had enclosed perimeter offices,
small printing shop in lower Manhattan which affected daylight penetration,” he said.
in 1807. The family-run firm, now into its seventh “The interior open plan areas were dark, vast
generation, has constantly evolved over its 210- areas with tedious grids of 2x2-foot fluorescent
year tenure, from letterpress pamphlets to digital troffers with little definition or interest.”
apps and interactive online learning tools, and The goal for One Lux Studio, therefore,
now this evolution has extended to its workplace, was to develop a lighting system that took
following a renovation of its company headquarters. advantage of the new open plan concepts.
Located in Hoboken, New Jersey, with beautiful However, Margulies was concerned that, in
views of the Hudson River and Manhattan beyond, doing so, they’d end up with large, open areas
the interior renovation has transformed the offices with “monotonous” lighting solutions.
into sophisticated, open workspaces, while the “Careful attention was placed on creating
large windows fill the space with natural light. interesting arrival and circulation design solutions,
Working alongside architects TPG Architecture, and the workstation areas had a ‘neighbourhood’
Manhattan-based One Lux Studio designed the approach where the light fixtures are related to
lighting for the newly renovated headquarters, the workstation zones, creating brighter zones
providing new solutions not only for the office space, at the workstations and darker zones in the
but for public areas also, including the ‘collaboration circulation areas. We created spaces that were
lounge’, elevator lobbies and cafeteria. intimate within a vast floor plan,” he explained.
Using a blend of decorative and architectural “Additionally, a large format, 4x4-foot
fixtures, the new lighting scheme utilises ceiling tile was used for the workplace. This,
both direct and indirect fixtures following the in conjunction with the indirect lighting
workstations, while linear indirect uplighting components, created a unique solution.”
at the core highlights the edges of the space. The use of indirect uplighting throughout the project
The public areas incorporate more playful circulation areas, provided by EcoSense, adds an
lighting elements, with zig zags, angular and interesting dynamic to the space not normally seen
organic patterns of lighting blending with in office environments, and Margulies explained
the ceiling system, revitalising the space. why One Lux Studio made this decision: “The
Stephen Margulies, founding partner of One Lux ceiling heights were pretty restrictive,” he said.

workspace lighting 119
workspace lighting

“Acoustic tile ceilings needed to be at eight foot, like the conference centre and food service Previous page Although the office space has
a vast floor plan, One Lux Studio strived to
ten inches to conceal major mechanical systems. areas, where ceiling heights were pushed even create intimate areas within this open space.
Above The space previously had enclosed
“Large open spaces with this ceiling height higher to enhance the user experience.” perimeter offices, which affected daylight
can feel compressed, so the concept of using As with most projects, budget proved to be a big penetration, but now it has been opened up,
filling the new look offices with natural light.
a direct/indirect lighting solution for the driver for One Lux Studio, but Margulies and his
workplace proved to enhance the volume of team found that their approach – particularly the
the space.” Major circulation areas made use blend of direct and indirect lighting – used very
of exposed ceilings, adding an element of few light fixtures when compared to traditional
‘rawness’, while also enhancing the spaces open office lighting solutions. However, by
by providing even greater volume and variety. referencing other projects where similar solutions
Elsewhere, a patterned ceiling effect in the were successfully implemented and carrying
elevator lobby, and lowered, zig zag panels in out tests to prove the concepts, they were
communal areas bring a sense of playfulness, successful in getting these solutions in place.
further differentiating the various spaces. The end result for Wiley Publishing’s new
However, while the ceiling proved restrictive headquarters is a bright, airy, interesting
in some areas, there were other occasions workspace, awakening an office that had
where the lighting team were able to previously felt dark and vast, underutilising
elevate them higher, further enhancing the space available. Margulies was delighted
the new, open feel of the headquarters. with how the project has turned out,
“The existing mechanical systems were kept praising the work of TPG Architecture.
in place, which created a few challenges for “The architect has created a new, unique
some areas,” explained Margulies. “Since the experience for the Wiley employees,” he said. lighting specified
workplace lighting hung below the ceiling “As the space was recreated in an existing office Artemide LED Net
we avoided many conflicts, and allowed the building, the comparisons were immediate. Birchwood Collin LED Direct
ceiling to be as high as physically possible. “Daylight and fantastic views of the Birchwood Jake Interior L35
EcoSense Troy Interior L35
“There were a few surprises when the existing Hudson River were magically awakened.
Fluxwerx View
ceilings were removed; however, recessed lighting Large, tedious spaces were transformed
Litelab M37
equipment that only required 3.5-inches of recess into ‘musical experiences’, having the beat Peerless Vellum LED
depth avoided most conflicts. This coordination change as one walks through the space.” USAI Beveled 2.1
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workspace lighting

Pics: Andy White

Strawberry Studios Forever

arc magazine has moved into new office space in the famous Strawberry Studios
in Stockport, Greater Manchester, a one-time recording studio which was used
by Joy Division, The Smiths and The Stone Roses amongst others.

rc has moved into a new office and arc moved in earlier this year.
in one of Manchester’s most arc media called on Enigma Lighting’s
famous musical landmarks. Manchester studio to supply the luminaires.
Set up 50 years ago, Strawberry They provided a range of fittings from Dark,
Studios in Stockport was one of the few UK the Belgium manufacturer that Enigma
recording spaces outside London. distribute in the UK. All fittings were painted
Backing from 10cc’s Graham Gouldman and black to fit in with the office’s monotone
artist-management firm Kennedy Street colour palette (with a splash of yellow).
Enterprises then turned it into a hub of Two 5800mm Metroline surface-mounted
northern recording. profiles provide continuous, sleek lighting
Strawberry Studios was given its name by over the communal OSB (oriented strand
Eric Stewart, a member of the Mindbenders board) workstation. Tubular LED track spots
and later 10cc, who became a partner in the are used to wallwash the yellow feature wall
business at a time when his favourite song (where a mural of arc and darc front covers
was The Beatles’ Strawberry Fields Forever. is planned) and Coolfin Jnr Boxes provide
Factory Records producer Martin Hannett peripheral illumination. A 12-25 Club 5
later used Strawberry as his studio of choice, lamp cluster provides feature lighting in
paving the way for a new generation of the kitchen and a Spaze pendant lights the
post-punk Manchester music. He famously meeting room. Control is via a Rako RMT500
recorded sound effects in the lift (now compact 500W RF dimmer with three
preserved behind glass) on Joy Division’s keypads for the different office zones and an
Unknown Pleasures album. app for smartphone control.
Artists like Paul McCartney, The Stone Roses, Unibox’s Neonist Machester Bee provides
The Smiths, Joy Division and The Buzzcocks the focal point at the entrance of the office.
recorded there before it shut in 1993. Constructed using solid acrylic lettering,
Enigma Lighting supplied a range of Dark fittings
Having occupied other parts of the building, Neonist uses laser CNC- etching processers for arc media’s office. The scheme was designed by
Mondiale Publishing (parent company of arc to create custom letters and shapes. Enigma’s lighting designer, Faye Frankland.
Lighting control is via a Rako RMT500 dimmer and a
media) bought Strawberry Studios in 2012 Unibox Neonist Manchester Bee creates a focal point.


Mood lighting systems recalling a

pre-programmed scene at the touch of a button
offer sophistication, ease of use and energy
saving benefits. Rako can control all light sources,
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With seamless integration to home cinema, multi-
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functions, the Smart Home dream becomes a reality.

Retrofittable wireless modules allow systems to

be installed with minimal fuss and expanded later,
while CAT5 wired options cater for the largest
of projects. With wireless/wired bridging even
combined systems are possible. Controlled from
stylish keypads, remotes, smartphone apps and
voice activated systems, the user has the power
of control.

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Mondo Ad December 2017.indd 1 04/12/2017 12:25:35

workspace lighting

Shifting Perceptions
The newly furnished rooms for Sydney-based architecture firm Candalepas
Associates show in an exemplary fashion how a lighting solution for offices, which
is based on perception-oriented lighting design, can be both effective and pleasing.

or an architect with high creative expectations, apart On the ground floor, where the meeting areas are principally located,
from their own, self-designed studio building there 24-watt Parscan wallwashers produce ambient lighting, which serve
can hardly be a more fitting office space than an old several purposes; it expands the visual impression of the rather
industrial loft. The atmospheric quality of these usually tube-like division of the spaces, sets off the substance of the old
high rooms, which are frequently flooded with light, their rugged building and makes the material on the large pin boards legible.
charm and workshop character explains why they have attracted Accent light is provided by 24-watt Parscan spotlights with flood
creative minds for so long. Architect, Angelo Candalepas, who lenses, which have been angled towards the discussion tables.
moved with his team into a listed commercial building in the heart of In the office areas on the first and second floors, where people work
Sydney’s bustling Central Business District, also succumbed to this at screens – Parscan spotlights with oval flood light distribution are
charm. used for steady, glare-free illumination of the surfaces of the desks.
One of the lighting design challenges of this project was to create For the ambient lighting Parscan wallwashers were the choice once
distinctively different amounts of natural daylight in individual more – this time twelve-watts. They were supplemented in areas
areas, which required a balance of natural and artificial light. with particularly high ceilings by Pantrac ceiling washlights with a
Therefore 3000K dimmable lights were used throughout the office, so power output of 24-watts.
that the artificial light could match the changing daylight conditions. With respect to the lighting design, the office used personally by
The uneven, highly structured ceilings posed a further challenge, Angelo Candalepas proved particularly delicate, due to its high
however, ERCO track lighting was so successfully integrated into this ceiling and large windows. Whereas his desk itself has been placed
ceiling structure that it can only be perceived as a supplementary next to the window, the drawing board is located away from the
element. window. Here two Pantrac ceiling washlights each of 24-watts,
Following Richard Kelly’s lighting philosophy that lighting should provide suitable ambient lighting and a Parscan spotlight directs the
be installed only where it is needed, ERCO developed a convincing, light with perfect precision onto the drawing board. For the evening
differentiated light concept, which was essentially implemented hours on Candalepas’ desk – almost like the icing on the cake – Lucy,
with three luminaire families. Whereas in the rather dark basement, the most recent task light from ERCO, stands and displays its useful
eight-watt Starpoint downlights with wide flood lenses provide advantages: it can be swivelled and directed for individual purposes
a bright, friendly atmosphere, in the entrance area and offices and in particular, it can be dimmed down to one percent.
spotlights from the Parscan and Pantrac luminaire families with a
variety of wattage and light distribution were used.


w w w
r o x o l i g h t i n g HALL 4.2 | STAND H21
. 18 - 23 March 2018
Frankfurt am Main
c o m
workspace lighting

Modern, Innovative, Green

With a brief to create a bright and modern, innovative workspace at the historic
Mills & Reeve Office Building in Norwich, UK, Glamox supplied a range of modern,
visually pleasing yet functional LED luminaires.

he Mills & Reeve Office Building The project was a collaboration between the lighting to different scenarios. Area Sales
in the historic part of medieval the architect Feilden+Mawson, Contact Manager Jamie Whitten was very pleased
Norwich is the workplace for Electrical (Norwich) Ltd, Ingleton Wood, with the end result and the collaboration
more than 230 employees. After ALH Building Services Design and Glamox. with the other companies involved: “Mills
fifteen years in the building, the company Glamox supplied a good mix of modern LED & Reeve was a very exciting customer to
decided that it was time to give the facilities products to the project. Extensive use of work with. They wanted products with an
a complete overhaul to create a new, flexible recessed luminaires like the Glamox C95, extremely high performance and some of the
space for staff and clients. According to C70 and C15 which all have a minimalist solutions they asked for were different from
project manager Adri Van der Colff, the expression, underlines the clean and modern what we normally supply,” he said.
stated aim of the £3.8million investment was atmosphere. “Thus, I had to work a bit with our supply
to create an inspiring working environment “The brief for Glamox as the lighting chain to get what they wanted, but in the end
for a growing workforce and vastly improved provider, was to help create a bright and it all turned out very well.”
client experience. modern, innovative workspace,” Van der Van der Colff agreed: “We are extremely
“Another stated aim of the project was to Colff continued. “All luminaires had to be pleased with the Glamox products used
create a greener, more sustainable building of a very high quality and have a visually throughout the building and visitors and staff
that will provide a pleasant working pleasing appearance. The choice of lighting alike have commented on the brightness of
environment for staff and a comfortable, had to reflect the gravitas which befits a the building and the quality of the fittings.
homely place for clients to visit. The use law firm by looking professional, but at the “Not only has this vastly improved the
of LED lighting throughout the building is same time we wanted to use lighting to add feeling of working in a bright modern
expected to reduce running costs by at least interest.” environment, but the clever use of feature
20% and staff have commented that they In the meeting rooms, a mix of recessed lighting has also added something very
find it much easier to work in a space which C70 luminaires and downlights (D60) has special to the building and turned it into a
appears like daylight, even after dark,” said been used. With a multiple group light real talking point.”
Van der Colff. management system, it is possible to adjust

AD-[EN]-236x333h mm.pdf 1 2017/8/30 14:55:56





workspace lighting

Neo Classical
Extensive lighting solutions from Hacel have
helped to give the £8million ‘Neo’ building
in Manchester, UK, a state of the art, refined
feel, creating a relaxed working environment.

he state of the art, £8million flagship redevelopment,
known as Neo, has opened in the heart of
Manchester’s city centre, featuring extensive and
creative lighting solutions by Hacel. The twelve-
storey landmark building represents a new generation of
workspaces for commercial specialists, Bruntwood, offering a new
typology and strategic positioning to the market.
Specifically designed and developed with a sustainable focus in
mind, Neo has been devised to encourage creatively-minded
businesses of all sizes, actively developing health and well-being
benefits throughout to create relaxed working environments.
Neo comes well equipped for modern, collaborative businesses,
and is home to high quality workspaces and co-working spaces,
lounge, kitchens, screening room, all-inclusive studio spaces
and larger open plan offices. The development commanded
refined, architectural lighting and Hacel were at the forefront in
providing a range of LED luminaires to reflect the sophisticated,
contemporary interior.
Working alongside consultants Hilson Moran, in-house lighting
designers at Hacel used their own Infinitas LEDs for the reception
area to complement the building’s sleek design. Alongside the
continuous lines of uninterrupted uniform LED lighting, the
flexibility of the Infinitas system allows for optional accent
luminaires to be incorporated for further versatility. Infinitas
Manta was specified for adaptability; Manta LED Power Spots
provide distinctive accent lighting, and are available in a choice
of lumen outputs with superior colour rendering properties.
Hacel delivered artistic luminaires equipped aesthetically and
Throughout the larger, open plan offices, which offer outstanding
panoramic views across the city, Hacel’s Linear Light4 was
introduced. Suspended Solo Modules featuring additional
uplighting with integral PIR Sensors and finished in black,
complemented the modern surroundings, promoting the appeal
for the specified lighting to be in tune and truly feel part of the
fresh design approach of the building.
Bruntwood has transformed Neo in every sense. With the word
‘Neo’ deriving from the Greek word meaning ‘fresh, new, revived
form’, Hacel are pleased to have contributed and supported this
outstanding, modern and creative building.
LED luminaires, all designed and manufactured in the UK by
Hacel, deliver architectural style and outstanding performance,
assisting in the desired outcome of this regeneration being
achieved above and beyond expectations. Neo is undoubtedly a
fresh take on what people need from their workplace.


workspace lighting

In The Vault
Deep in the catacombs of the historic CHQ Building in Dublin, Ireland,
Britelux Lighting has created a remarkable lighting scheme for its newly
renovated basement offices, with lighting provided by Linea Light Group.

warehouse for the storage of wine, Lighting, designed to transform the dark vaults
whiskey and tobacco: this was the into an unexpected, bright and comfortable
original function of the historical workspace.
Irish CHQ Building following its Britelux Lighting turned to Linea Light Group
construction in 1820. Located in the Dublin’s for its Professional LED Lighting product line,
Docklands, nowadays it has undergone renovations a collection that, since 2000, encompasses the
to become the home of several institutions and best LED solutions that the 30-year-old Italian
businesses. manufacturers have to offer.
Under the old vault of the building, known as Stack The vaults and walls of the rooms and hallways
A, overlooking the Liffey river, the atmosphere are illuminated with Suelo uplight fittings, which
is really striking and unique: an ancient soul wash the stone masonry, emphasising its rich
lives in a modern workplace with welcoming texture. The AquaStop system that protects the
meeting rooms, an original co-working space for luminaires from the humidity levels often found in
use by startups and young digital entrepreneurs, basements, the light’s excellent performance and
alongside space for exhibitions and events, shops, visual comfort guaranteed by the special anti-glare
cafes, restaurants and – last but not least – the screen are the features that make Suelo ideal for
EPIC (The Irish Emigration Museum). In the installation in these particular spaces.
basement, the DogPatch Labs act as an accelerator Pound fittings installed in the ceiling illuminate
for emerging startups and talents from the Irish the desks of the meeting rooms and of the
tech community, providing a location where they offices available, blending seamlessly with the lit
can grow and share their know-how, making new environment thanks to their essential and clean
connections. design. Extremely versatile, with its arrayLED
Together with a renewal of the interiors and new, light source, Pound features an excellent lighting
modern furniture, the great protagonist is the performance along with a minimalist sleek design
light, which makes a fundamental contribution that can be matched to any type of setting.
thanks to a lighting project developed by Britelux

Workspace Lighting

The Zig Zag Zone

As the trend of ‘Human-Centric Lighting’
continues to gather steam, Luxonic was on
hand to create a ‘happier, healthier’ lighting
scheme for the Zig Zag building in London,
boosting both its energy efficiency and
employee wellbeing.

he last few years have witnessed It was Land Securities’ desire to blend these installation in the irregular layout of the Zig
a boom in developing and two central themes of constructing an Zag, and, given Luxonic’s long-standing
designing properties to improve inspiring work environment which saved partnership and collaboration with SAS
employee wellbeing. According on energy output that saw them seek out International, was compatible with the
to a CFO Survey Europe Report from 2013, Luxonic with a challenge to light up the Zig office’s high-spec SAS 330 ceiling tiles.
enhancing the work environment can make Zag building. When Land Securities was SKYLUX maintained the office space’s
employees ‘happier, healthier and over 15% tasked with constructing the Zig Zag, the professional aesthetic and comfortable
more productive’. At the same time, the goal was to create the ultimate ‘thoughtful’ lit environment. The range’s high energy
Gensler Faulty Towers Report noted that 72% building. Every inch of the 187,000sqft office performance fit the Zig Zag building’s
of property directors believe that businesses space had to prioritise the comfort and energy efficiency needs, and Land Securities’
are footing the bill of poorly designed, consideration of its eventual occupants, and independent testing showed SKYLUX’s
energy-inefficient buildings. achieve ultimate efficiency at each stage of energy performance was higher than
Optimal office design then, will successfully construction and use. previous in-house lab results. The range
marry sustainable design with making Despite the British lighting firms’ has helped cut the Zig Zag’s overhead costs,
offices havens of wellbeing. As such, there’s experience of operating in the commercial and the building is now BREEAM ‘Excellent’
increasing desire within the commercial sphere, the project was not without its rated.
property market to seek out lighting challenges, Wherry continued: “The office As well as its incredible efficiency, Luxonic
schemes that blend WELL standards with space was to be upgraded from base build has also had a hand in helping the Zig Zag
energy efficiency, for optimal office design. to fit out for new tenants without major claim its title as a thoughtful building; its
Martyn Wherry, director at Luxonic, modification to the lighting layout – we had sustainable lighting systems have helped
ruminated on this increasing interest: to ensure we selected the right kit to make engender a comfortable and fresh working
“We’ve been making some of the most sure this didn’t pose a problem further down space, with the wellbeing of occupants the
efficient products in the industry for over the line.” priority throughout construction.
three decades, and in the last few years The Zig Zag building’s layout, an unusual, “We’re incredibly proud to have played a
we’ve been fine-tuning technology that angular, jagged shape, also presented part in this project,” Wherry said: “The
promotes these natural responses to light in Luxonic with somewhat of a test when building itself is so striking, and Land
building occupants – which is already being specifying the ideal lighting scheme. Securities’ commitment to enriching the
used to improve alertness and comfort in Taking into account the distinct building office for employees and improving its
some UK offices. It’s helped us occupy this shape and office space upgrade, Luxonic’s sustainability has set a real precedent
sweet spot in the lighting market, where we creative team of designers and light amongst London offices.”
can provide sustainable lighting schemes engineers recommended the SKYLUX
that also promote wellbeing for occupants.” recessed LED. The range was suitable for

Korea Progression
KKDC has officially opened its new R&D Centre in the company’s hometown of Seoul, South Korea.
Designed in house, the move is part of a wider expansion plan for the LED manufacturers and will see
the company run in-house luminaire testing for the first time.

ED manufacturer KKDC kicked protocols, among other areas. “The showroom is laid out with three main
off its 2018 expansion plans with The chemical engineering team works on open plan areas, separated by adaptable
the opening of a new, specially all silicon and PC aspects, ensuring that partition walls: the main showroom space,
build R&D Centre in Seoul, they meet KKDC’s stringent requirements a relaxing seating and drinks area, and a
South Korea. for UV stability, water resistance, adhesive front ‘Gallery display area’. There’s also a
The new centre, a nine-storey, 4,850sqm properties and heat dissipation. All teams small tactile product room for visitors to get
complex designed by Korean architect work together closely with the Oxford- ‘hands-on’ with the various KKDC product
Seho Choi sees KKDC come full circle as a based KKDC Design House throughout the profiles and components.”
company, returning to its birthplace with a development process. For the primary lighting of the space, KKDC
new workspace located just 200-metres from Lighting for the entire building was provided used its own soon to be launched KOH
the small offices they started out at in 2003. by KKDC itself, with the SEN-F, SEN, POKI Suspended System: a continuous general
Since its inception, the company has and Duo Luna profiles used on the exterior linear lighting solution for direct/indirect
expanded on a global scale, with thirteen lighting, while a bespoke, surface-mounted lighting. They also produced a custom spiral
sales branches and three factories around downlight, the FLAT-MG Special, provided shape with diffused downlight and dynamic
the world, along with KKDC Design House in the general office lighting inside. RGB uplighting.
the UK. Now, founder and director Jack Choo The ground floor of the new centre features a The showroom features two notable design
said: “I feel like a fisherman returning back flexible, open-plan showroom, showcasing features within the space: firstly a ‘colour
to port with a full load of fish.” the latest KKDC products in situ, with a temperature demo wall’, designed by Young,
The new R&D Centre will be the base lighting scheme imagined by KKDC Design that features rotating panel boards to act as
of operations for KKDC’s hardware and House. a room divide, meaning they can be ‘opened’
software team, as well as its chemical Tim Young, Creative Director at KKDC Design or ‘closed’ depending on how KKDC required
engineering department. The hardware House, said: “It was a clear point of the the space to be partitioned.
team works on PCB design, LED calibration design brief that this space needed to be a Secondly, there is a dominant module
and hosing design, while the software team flexible, multi-use area that can be adapted shelving ‘box wall’ constructed from a metal
focuses on dimming programs, protocols according to our product changes and various frame with integrated LED lighting, into
for other dimming units and LED cluster events. which wooden box modules fit. This wall

workspace lighting

then acts as a partition between the main which will no doubt benefit KKDC in the Far left The ground floor showroom of the new R&D
Centre boasts two notable design features: a ‘colour
space and a ‘front gallery’ area, which will be future – and with the expansion of more in-
temperature demo wall’ and a module shelving ‘box
used for displaying KKDC product launches, house luminaire testing ability and specialist wall’, both designed to showcase KKDC’s integrated LED
exhibiting artist and design collaborations or knowledge, this can only benefit KKDC as we lighting.
Above left The exterior of the R&D centre, illuminated
promoting student works and competitions. endeavour to produce LED lighting solutions by KKDC’s own SEN-F, SEN, POKI and Duo Luna profiles.
The wooden boxes within the box wall can be for the international architectural lighting Top KKDC’s bespoke, surface-mounted downlight, the
FLAT-MG Special, provided the general office lighting
configured into various positions to create market.”
inside the building.
either an open or closed feel, depending KKDC celebrated the opening of the new R&D Above The new R&D centre allows the LED
on requirement. The whole wall is also centre with a special launch party, in which manufacturers to run in-house luminaire testing for the
first time.
moveable. lighting designers from around the world Below Also in the showroom, KKDC Design House
Alongside this, Young designed a special, were invited to Seoul to see the centre, and designed a special, CNC-machined wooden feature wall
with embossed and debossed logos, specified to create
CNC-machined wooden feature wall, visit KKDC’s factory in nearby Paju.
a textured wall finish, grazed with light.
with embossed and debossed KKDC logos, Those that made the trip were clearly
specified to create a textured wall finish, impressed with what they saw. Christian
grazed with light. Wendel of MBLD said: “For me, it allowed
Although the building features a number me to get an impression of South Korea as
of unoccupied floors at the moment, there a highly developed industrial country with
are plans to expand the company further, strong cultural roots.”
implementing new technologies and Graham Rollins, Associate at LDI, added:
production lines in the space. “The best aspect of the whole trip was the
The move to construct a new, purpose-built great hospitality from KKDC – a fantastic
R&D centre in Seoul puts KKDC at the heart company!”
of innovation in South Korea, as the city Finally. Patricia Lopez Yanez, Associate at
is also home to huge R&D centres for tech Delta Lighting Solutions, said: “I would
giants Samsung and LG. And Young believes like to thank KKDC for giving me such
that the LED manufacturer’s new centre will an amazing opportunity to be part of the
benefit the company greatly moving forward. opening and factory visit. Being there meant
“These are exciting times for us and I believe I had the chance to take a look at how KKDC
the Korean R&D team are very happy to have develop their products, and to understand
so much space and room for expansion,” he the manufacturing process.”
“Seoul is a hot-bed for engineering talent 135

Pics: Davis Carter Scott

The Greenhouse Effect

The Cooledge TILE was installed into the White & Case law
firm, based in Washington DC, during its latest renovation,
to effectively bring the perception of natural light from
outside indoors.

ooledge has introduced its daylight harvesting. A particularly notable as the primary source of the lighting design,
surfaces TILE wall illumination feature is the installation of an illuminated to create the desired ambient illumination.
as the primary light source to onyx wall in the reception area. The TILE The paper-thin TILE provides an easily
American law firm, White & was specifically chosen for its ability to fill applied installation without the need for heat
Case, in order to create a feeling of daylight the space with a uniform light distribution sinks and ideally resolves the need for large
inside its modern interior. and its unique translucent qualities allowing surface illumination coverage for this firm.
In this particular case, natural light plays an the onyx pattern to come through, all whilst The warm palette of natural colours and tones
integral role for the renovation of the law limiting the depth of the wall cavity within creates an atmosphere of contemporary hotel
firm’s Washington DC office. 76mm, and provide a uniform distribution of luxury in the foyer that welcomes in staff and
The interior architectural project, designed light that replicates the feeling of daylight. international clientele.
by Davis Carter Scott of DCS Design, Carefully positioned glass panelling in the The TILE is an adaptable solution for
demonstrates the rejuvenation of light in the inner atrium diffuses natural light spilling scalable and sustainable lighting applied to a
workplace, and this office demonstrates how through from a central courtyard. Wanting workspace without compromise to the design
the remodelling of a corporate interior can to carry on this seamless, transparent aesthetic.
maximise the opportunities for incorporating dispersion of light, the Cooledge TILE creates
luminous surfaces that seamlessly blend with this, what appears, effortless lighting effect

18. – 23. 3. 2018
Frankfurt am Main

The world’s leading trade fair for

DU: 13.11. 2017

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The Perfect I
t is said that all good documentaries start with a
question. We are not saying that we have made a good
documentary but we have definitely asked a question…

The historical development of light and lighting has
always been about the search for the ‘Perfect’ Light. With each
new light source development trying to better the one before in
terms of efficiency, size or usability, and occasionally in quality
(halophosphor to triphosphor in fluorescent technology and quartz
to ceramic in metal halide for example). The current state of the

At the start of this year, Light Collective set art in terms of lighting technology, however, means that most
designers currently specify almost 100% LED on their projects.
off on a mission to find the Perfect Light We wanted to question the almost ubiquitous use of LEDs
and on the way to capture the thoughts in current lighting design and specification. We wanted to
question why LEDs have superseded all other sources and
and characters of leading lighting designers potentially rendered them obsolete, unlike any light source
around the globe. Supported by Citizen, the development before. We wanted to ask, therefore, is LED the
Perfect Light? Are we in the middle of the greatest revolution
end product is a non-project specific narrative since the invention of Swan’s (or Edison’s) light bulb?
that voices the thoughts of 22 of the world’s Our documentary asked lighting designers around the globe

leading lighting designers at a unique time in for their thoughts, memories and opinions on light sources,
lighting design and how they would define the Perfect Light.
the development of light and lighting. In order to do this we were lucky to be able to enlist the support of
Citizen, a company who has been making LEDs for 20 years. They
supported the project with a view to introducing themselves to the
lighting industry having realised that for many years they have been
manufacturing LEDs based on increasing efficiency and decreasing
cost. They realised that these should not be the only factors by which
LED is developed and our idea for a critical appraisal of the use of
LED aligned well with this realisation. By meeting, and listening


xxx xxx

Opposite from left to right

(row 1) Christopher Bauder, Serena Tellini, Francesco Iannone, Howard M. Brandston, Stewart
(row 2) Louis Clair, James Carpenter, Paul Gregory, Professor George Brainard, Mark Major, Leni
Schwendinger, Don Slater.
(row 3) Lisa Ishii, Professor Andreas Schulz, Motoko Ishii, John Lau, Karou Mende, Giovanni
Traverso, Moritz Waldermeyer.
(row 4) Roger Narboni, Enrique Peiniger, Gerd Pfarre, Kai Piippo.

to, the opinion of international designers we were able to find a down as they said the quality of the footage was too amateur.
way to give a voice to the wider lighting design community and Against the odds, we got there in the end despite a soundtrack
collate the thoughts of a varied set of characters and influences. that includes sirens in New York City, building work in Munich,
Light Collective are always taking on new challenges and stretching rain in Paris, car alarms in London and birds in Vincenza.
our comfort zone and making a full length film is no exception. Having screened the film to an invited audience of lighting
We spoke to 23 people in six countries… Christopher Bauder, Don designers, artists and architects in London, Berlin, Paris,
Slater, Enrique Peiniger, Francesco Iannone & Serena Tellini, George Milan and New York we are immensely proud of what we
Brainard, Gerd Pfarré, Giovanni Traverso, Howard Branston, James have achieved and incredibly grateful to the lighting industry
Carpenter, John Lau, Kai Piippo, Kaoru Mende, Leni Schwendinger, for helping us to make this film - especially to Citizen for
Lisa Ishii, Louis Clair, Mark Major, Moritz Waldermeyer, Motoko Ishii, supporting it and for everyone who was involved.
Paul Gregory, Andreas Schulz, Roger Narboni and Stuart Alexander. This is an industry that passionately cares about what it
From this we ended up with eleven hours of interview footage and does and wants to share knowledge with competitors to
about another fifteen hours of night-time B-roll footage, which raise the game for everyone. Every interview would have
all needed to be edited down to make a short film of 35 minutes. made a short film in its own right and we are pleased to
After making loads of You Tube videos over the years on our have created this snapshot of time and opinion.
iPhones, we knew that we needed to upgrade our equipment We would also like to extend our thanks to all the lighting
and to up our game. We packed iPad Pros, iOgrapher cases, designers out there whose work features in this film. We are
a DJI Osmo mobile and some tuneable LED studio lights unable to credit all of you as we don’t know who you are but we
(kindly lent to us by Rosco) into a suitcase and set off. salute you and the work you have done. You are the unsung heroes
On the journey to make this film, we realised that we are definitely of the urban environment and the support cast of this film.
lighting designers not filmmakers and learnt a lot of lessons along The making of the film has made us remember thats it’s lighting
the way. We had to navigate the pitfalls of forgetting to charge the designers that need to drive change, need to innovate and need to
equipment, missing capturing the sound, wonky, wobbly footage, speak out. We hope it invites critical thinking and consideration of
asking the wrong questions, embarrassing ourselves in front of our the impact of LED on the way we design from all that watch it. We also
really clever interviewees, worrying that people would not be in the hope it makes you wonder as to what if any is The Perfect Light…
film enough and of course revealing the end product to an audience.
Overwhelmed by the amount of footage we ended up with at Contact Citizen to arrange a screening or request a DVD:
the end of our filming/interview stage which ran from May
to July, we asked someone to help us edit but they turned us Let us know your thoughts: 139
Winter Wonderland
With lighting designed by Lichtteam and provided by Wibre, the Iglootel, located in
Swedish Lapland, provided visitors with a magical hotel experience unlike any other.

n January 2017, Iglootel Lapland to provide the lighting. Benjamin Pfendt, expect.”
opened its doors for the fourth of Wibre, explained: “Lichtteam came to Pfendt agreed, adding that the cold weather
time, offering visitors a truly us and asked if we’d like to illuminate this provided a different kind of consideration
unique hotel experience. spectacular project with our fixtures, as from a manufacturer’s perspective: “The
Located in Arjeplog in Swedish Lapland, the a sponsor. There has never been such an biggest difference for us is the requirement
hotel is constructed completely out of snow exciting project on our list of references, so from the spotlights,” he said. “The harsh
and ice, and includes an ice bar, four ‘event the issue of our participation was never in conditions of cold, snow and ice, of course,
igloos’, ten individually designed sleeping doubt.” demand more and different functionality
igloos and an ‘Aurora’ area outside, complete The hotel’s location just south of the from the spotlights than in central Europe.”
with three whirlpools, each heated up to Arctic Circle meant that this project was “In addition, we had far less experience with
40-degrees Celsius, as well as a wooden completely different to anything that Wibre these conditions than we did for example, at
sauna heated by a fire. Elsewhere, a cosy or Lichtteam had worked on previously. As high temperatures in the Middle East, where
bonfire surrounded by white snow walls in Stefan Möller of Lichtteam explained, the far more experience has been gathered.”
the ‘fire igloo’ provides guests the chance to project occurs “in a symbiosis with nature”. These harsh conditions meant that lighting
sit down, relax and spot the Northern Lights “The entire project, including the time became an integral part of the project’s
during a clear night. sequence, relied totally on the weather,” he success, not only in providing illumination,
German-based Lichtteam, who had worked said. “What makes this project exceptional is but in creating the right atmosphere, as
on the first Iglootel, located in Aborträsk in that it started without any prior experience, Möller continued: “The topic of lighting
2012, designed the lighting for this unique as nobody has built and illuminated an igloo is very important for the project, because
resort, and called on manufacturers Wibre of this magnitude. No one knew what to without the corresponding situation-


adapted lighting, the Iglootel would just be served perfectly in the snow and ice of involved meant that the project could be
a cold pile of snow without any warmth or the Iglootel. Pfendt explained: “Our LED completed on schedule.
comfort. The residence time would certainly technology is extremely robust and is “It took a very long time to get as cold as it
be very short.” protected against any external influences by normally would at the Arctic Circle, and we
Using the motto of ‘tuneable white’, the absolute permanent watertight enclosure were sometimes faced with temperatures
Lichtteam and Wibre worked less with from the ‘outside world’. on the plus side until December,” he said.
colours than in previous years at other “Thanks to the sophisticated heat “This caused the entire project to be delayed,
locations, instead utilising the changing management and various protection especially as the hotel was once again
effect of warm and cold white light. “It was components on the LED boards, the spotlight significantly larger than in previous years.
very fascinating how a contrast in the rooms can withstand extremely low or even high “We ultimately still managed to finish the
was created and how people react to it,” said temperatures. What we also found special Iglootel by the opening date though, with a
Möller. is that the LED colours used are much more lot of work and fantastic teamwork within
“The whole thing created a kind of suspense, effective in ice than under water.” the team.”
so that the guests are led from outside to While the obvious appeal of the Iglootel is The Iglootel was open from January to March
inside, from the cold white to the warm to experience the frozen conditions of the 2017. Preparations are currently underway
white colours. Most visitors did not expect Arctic Circle, preparations for this year’s for Iglootel 2018, which will once again be
that.” location were halted due to surprisingly open from mid-January through to March.
Wibre’s main application area is usually warm weather, leaving the team with less
lighting under water, and as such, the time to prepare the hotel. However, as
German manufacturer’s recessed spotlights Möller explained, the teamwork from those 141
All pics: Patrik Gunnar Helin

Left Page Site 6. Blue light washes

the tree lined pathway and bridge
surrounding the pump house,
illuminating the nearby residential area.

Step into the Light

The seventeenth edition of Lights in Alingsås delighted the
streets of the small Swedish town near Gothenburg. Proving to
be another great success, the Light Trail took visitors all across
the town to experience an array of emotions through light.

n its seventeenth year, the Lights The key to success came from Hult allowing the whole
in Alingsås was another spectacular town to be free for the designers to work on. A small
event for the little Swedish town amount of limitations resulted in a lot of flexibility,
just north of Gothenburg. allowing the event to grow rapidly into an annual
In the beginning, students from the Light Centres occasion, whilst respectfully remaining in keeping
together with Alingsås Energi, under the guidance with the town’s aesthetics and functionality.
of Torbjörn Eliasson and Kai Piippo, started Sadly, this year saw the last of Kjell Hult from
experimenting with lights in Alingsås during 1998. the front lines as he announced his retirement.
Following on in 1999, students from Ljuscentrum Nevertheless, ownership will be transferred to
and Jönköping Lights School collaborated to create Alingsås Energi and the reigns will be taken over
lighting installations at different stations. The by the trusty all-female team, Angelica Larsson,
official Lights in Alingsås project began in 2000 Maria Björsson and Margaretha Stenmark.
in collaboration with ELDA, after the interest in Lighting has become such an integral part
lighting design grew rapidly in the town, with Kjell of the community in Alingsås, bringing
Hult at the forefront to ensure it happened. international visitors, (approximately 80,000
With great success, the following year, the town each year) and locals together for five weeks
municipality entered into an agreement with to brighten the dark autumn months.
the Professional Lighting Designers’ Association With 60 students from all over the world (Belgium,
(PLDA) to create an annual educational event Norway, Spain, Mexico, Argentina, Egypt, Sweden,
for lighting designers and students, (the event Israel, Portugal, Guatemala and South Africa), Lights
is now in association with the IALD). in Alingsås 2017 was not a year to disappoint. The


Site 5: Construction of the light gazebo next

Site 3: Creating the light lifeline to the river, creating a warm homing beacon
between the milestone trees of life. to the people of Alingsås.

Site 3: Site leaders Birgitte Site 5: Lara Elbaz, Spanish lighting

Appelong and Mats designer with team member from
Bergström. Room With A View

Electronics student installing

cables into the tree tops.

line-up of lighting designers included James Wallace chances of employability following the event.
from Australia, Lara Elbaz from Spain, Louis-Xavier Differing from the usual format of seven sites run by
Gagnon-Lebrun from Canada, Miguel Angel Vázquez seven lighting designers, this year saw the addition
Calanchini from Mexico, Birgitte Appelong and Mats of an extra site specifically aimed at children. A local
Bergström from Norway, Veronica Chernets from playground on the light trail was transformed into
Ukraine and Magnus Almung and Simon Malmström an illuminated circus, created by Swedish designer
from Sweden. Each team had a mixture of cultures, Malin Wallin. An interactive and playful scene where
backgrounds and skills that were merged together children could engage with light and sound was
to formulate a cognitive group that produced the created across the small park. “The response we got
lighting installations. This proved an interesting was really great and is in line with our ambitions
social situation for each of the individuals, as not to involve the whole family. That also applies to
only did they have to work together to produce an our partners, which this year includes Sparbanken
installation, the different cultural backgrounds Alingsås, Alingsås municipality and Alingsås Energi to
demanded an intense commitment to co-operation. name a few”, adds Angelica Larsson, Event Manager.
Furthermore, each site team integrated top-of- An important theme, which was brought to
the-class electronics students from the local high attention next to the children’s site, was where
school, which provided them with invaluable TRINE had set up a pop up exhibit to highlight the
industry experience. When speaking with the issues of a world without electricity; a world that
electricians mentoring the high school students, 1.2 billion people live in today. Much like the darc
they remarked working on this project would, and room participants, Little Sun, TRINE is working
has done in the past, dramatically increase their hard with solar energy to create and bring light 143

Site 6. Fire flies hovering over the river next to the pump house ,
creating mesmerising reflections in the water.

“The response we luminaires journey over. The story goes, six friends made a pact
when they were eighteen to return to Alingsås for the Lights event

got was really great

after they grew up and moved away. Each person brings with them an
emotion as the train pulls in and departs again, whether it’s one they

and is in line with our

find when they arrive or one they have left behind; accomplishment,
frustration, fright, tenderness, sorrow, eagerness and safety.
Site number two was titled Weaving Emotions. A collection of slim

ambitions to involve wooden poles were assembled in a grassland area close to the railway
station and pedestrian pathway, and were used to represent the

the whole family. ” historic past of textiles in Alingsås. Initially, curiosity draws the
audience into the installation and encourages them to walk amongst
the poles. Then, depending on which angle you’re standing in will
Angelica Larsson, Event Manager determine what colour you see, and thus evoke a different emotion
depending on the individual’s interpretation of that colour.
Site three progresses on to one of the main residential roads in the
south of the town. This large site covers the length of the tree-
lined road, illuminating one side, connecting all of the trees with
a pulsing lifeline of light. Point of You delves into the forbidden
feelings and emotions experienced during your adolescence,
such as loneliness, ego, jealousy, insecurity, religious conflict
to those in countries where electricity is not readily available. and infidelity. Each tree represents a milestone in the timeline
The theme for the lighting installations, this year, was of life, starting at birth and childhood all the way to retirement
‘Emotions’. Each site had to take an emotion and derive a and death. Each end of the street displays two different lighting
story behind that particular feeling, which could then be effects; the first side being darker with more isolated colourful
conveyed through lights, music, composition and colours. spot washes, which represents the stories of life, whereas when
Site one, run by Team Aussie with lighting designer James Wallace, returning at a different point of the light trail after some other
had the task of tackling the Alingsås Train Station. The team sites, we get the opportunity to look back on the street where
created a story of friendships moving along the Track of Emotions each of the trees are illuminated in a punchy, bright blue wash.
– a wooden track used as an architectural addition to the façade Site four, The Walk of Concern, is located at the Alingsås Court
of the building - to represent a railway track that the Philips LED House. Working in collaboration with Magnus Almung, the architect

Leake Street, UK • Lighting design by Nulty • Luminaires by W. Meyer, supplied by sole UK distributor
Commercial Lighting Systems Ltd • Photography by James French • Light source by Xicato Artist Series

Color is Everywhere
Xicato Artist Series®


AD 171201 Graffiti.indd 1 12/4/17 8:40 AM


Site 1 Site 2 Site 3

Site 4 Site 5 Site 6

Children enjoying the lights around

the circus themed installation in their
Site 7 Circus Playground local playground.

of the new extension of the building, the that are soft and subtle to make the viewer our professional career), a very productive
lighting team derived a story of concern feel relaxed and connected to nature. organisation and, most importantly, a
depicted through the emotional journey Happiness is the emotion reflected in site positive attitude - smiling and enjoying
someone goes on when summoned to court. six, located at the Pump House and bridge. every single creative day of the workshop
The story guides you with lights to the front The trees lining the river are washed with week. It’s an unforgettable time that
door, a point of no return, and mimics a bold blues and reds and a collection of every designer should experience”. Upon
heart beat pulsing. Then it travels across fireflies hover above the flowing water. her return in 2017, Kolovea was reunited
the building to a wire mesh sculpture of a This represents the circle of life through with friends and colleagues to produce
crouched figure illuminated in red and blue, the cycle of water and the transfer of energy the smaller alumni installation on a more
representing anxiety. The adjacent windows between the water and the pump house. intimate scale. “This year, a group from
flash alternatively to and fro to suggest a The last site brings us back to the KTH Royal Institute of Technology were
heated debate within the courtroom before town centre at the historical museum invited by Lights in Alingsås to create an
we finally move around the corner to a building. When walking through a linear indoor light art installation for the festival.
couple of constructed screens with spots of light-gate, hanging glowing baubles I was very excited to be part of this team
moving colours to represent a resolution. surrounds us, with colour washed trees and go back to meet all of my friends
Room With A View is the title for site number and an illuminated statue that prints after a year in Alingsås. It was great to be
five, located close to the river. During the its shadow onto the museum walls, back and work again with this inspiring
darker months, a Swedish tradition is to suggesting their emotion, Reflection. team and the passionate experts from HQ
put a small lamp in the window facing the A non-official installation in the window of (the technical support and programmers
street, which makes finding your way home the town library was produced by a group of etc), Angelica, Anna, Camilla, Maggie
a little warmer and easier. Lara Elbaz’s lighting student alumni from previous years. and the best guide Birgitta. I am sure
team recreated this scene transforming Katia Kolovea described the experience as that I will go back to Alingsås for a third
the streetlights with large lampshades. A a student from 2016 and what it meant to time very soon! It works like a magnet,
small wooden pavilion is illuminated where her: “The biggest advantage are the tools once in Alingsås...always in Alingsås!”
you can sit and watch water reflections that I developed during the workshop Now the Light Trail is closed again for
and ripples as the river is gently lit, to week. The power of team work (it’s super another year, preparations are beginning
create the atmosphere of ‘calmness’ as important to respect and build concepts already for next year with the new female
their emotion. A home from home, Elbaz and ideas with a multidisciplinary team), team to carry on the Kjell Hult legacy.
wanted to use warm autumnal colours the multitasking (which is very useful for


1000+ lumens

LED selection
to meet
efficacy & CRI
custom optic

A fresh approach to Tell us what you want and we’ll deliver your ideal LED solution.

your solution
In need of a showstopper? We’ll take on your
technical challenge with new concepts, value we’ll design it manufacture it test it and deliver it
engineering and a focus on your budget and
performance targets. Walk away with a solution
that not only looks amazing but delivers on
performance too. See us there. Hall 4.2 Stand B90
The Case for
Managing Performace
Holly Reed, IALD
Human Resources
Consultant, offers
up some advice on
s we head into 2018, some firms are deciding
how to review and reward their employees.
This is often an important time to consider

how management
the reasons and process for managing
performance. Managers can make their pay
decisions as an outcome of results achieved

teams can help

in the past year.
One of the most significant aspects of performance management
is providing employees an opportunity to receive direct and

employees through a specific feedback. Through this process, employees will gain
an understanding of how they are performing and be able to

proper performance
react constructively. Your communication results in developing
your high performers, retaining your top talent, ensuring fair
treatment for all employees, and creating an engaging and

management system.
professional work environment.
This process also allows managers to exhibit leadership. Managers
play a very important role in coaching, developing and retaining
employees. A strong employee retention tool is the relationship
with the manager or supervisor. Andrew Chamberlain, PhD, is
chief economist at jobs site Glassdoor and director of research at
Glassdoor Economic Research.
Using reviews and salary surveys, he wrote in the 17 January 2017
issue of the Harvard Business Review: “One of the most striking
results we’ve found is that, across all income levels, the top
predictor of workplace satisfaction is not pay: It is the culture
and values of the organisation, followed closely by the quality of
senior leadership and the career opportunities at the company.”
Managing employee performance is best accomplished by setting
goals for employees. Goals drive performance toward results and
help employees clearly understand what needs to be accomplished
– and who is responsible. They allow us to recognise great
performance and manage improvement areas. Without goals, we
don’t know what success looks like.
Starting with the organisation’s strategic and business goals,
managers should develop cascading goals for each department
and then for individual employees. Aligning departmental and
employee goals to organisation goals helps employees understand
how their work matters. Ensure employees understand the
activities they are expected to perform and how their performance
will be measured.
To help craft goals, consider S.M.A.R.T., a popular goal-setting
tool used globally for describing the necessary elements of
meaningful job objectives:
• Specific: concrete, detailed, well defined
• Measurable: numbers, quantities, comparisons
• Achievable: feasible, actionable
• Realistic/Relevant: using current resources
• Timely: timelines defined
Consider the overall objectives of the organisation and then
develop objectives for your employees that support that work.
Focus on what you need the employee to achieve instead of


describing what someone is going to do. Objectives should reflect the

level and range of job responsibilities that the employee has. Keep
objectives under review throughout the year.
A vague goal would be “increase number of new proposals”. A
S.M.A.R.T. goal would be “increase number of new proposals by
15% this fiscal year”. Behavioural goals can also be represented as
S.M.A.R.T. goals, such as “working with others 100% of the time in a
professional, respectful way that is cooperative and collaborative”.
It’s also important to manage high and low performers. Hold
quarterly or mid-year update meetings with individuals to monitor
progress against goals, realign priorities and discuss individual
development priorities. Document what was discussed and provide
regular coaching throughout the year.
Managers are responsible for developing relevant objectives for
existing employees annually, and for new employees soon after start
date. The S.M.A.R.T goal-setting tool is used globally for describing
the necessary elements of meaningful job objectives, and Reed
As a manager, you want to spend as much time as you can with your believes that by utilising this tool, managers can give employees
more detailed, specific targets. By doing so, it becomes easier
top performers who are achieving the most results. You want to to track low and high performers, and offer more realistic
work with high performers to keep them engaged by giving them developmental targets.

stretch assignments, cross training opportunities, and projects to

develop new skills and include their long-term career goals. With a
high performing employee, pursue conversations about continuous
With a lower performing employee, determine what issues exist
that limit the employee’s ability to perform the task or accomplish
the objectives. Four common barriers are time, training, tools, and
behaviour. Determine how to remove these barriers.
Focus on the problem or behaviour that needs improvement, not on
the person. Use descriptions of the behaviour with examples. Ask for
the employee’s view of the situation.
Describe the performance problem to the employee. Discuss
potential solutions to the problem or improvement actions to take.
Ask the employee for ideas on how to correct the problem or prevent
it from happening again.
Being clear and straightforward in your communications regarding
performance is a top priority for a manager. Provide frequent,
early feedback to identify any issues. Ensure there is consistency
between verbal feedback, performance rating, salary and incentive Managing employee performance can be a lever to help your business
recommendations, and the written review. reach your goals. Using S.M.A.R.T. goals makes objectives clear and
When it comes to written reviews, some tips to think about are: results-oriented. Coaching employees throughout the year will keep
• All ratings should be able to be supported by specific and their progress on track and keep them engaged with their work and
measurable criteria the organisation.
• Differences between and among individuals can be explained,
justified and supported
• Documentation exists on events and incidents related to an Additional resources on Performance Management can viewed at the following
employee’s performance (both positive and negative) links:
• Focus on results and behaviour
• Topics should be job related only
• Different countries have different labor laws regarding employment
and discrimination Chamberlain’s Harvard Business Review article can be found at:
• Complete review on time 149
IALD Enlighten
IALD Enlighten Americas 2017 arrived in the Mile
High City, Denver, this October, bringing together
designers, manufacturers, students and friends
from all over the world together to celebrate light.
Editorial Assistant Sarah Cullen joined the fun.

he seventeenth edition of the Enlighten Americas Practical Tools and Techniques for Measuring Lighting
landed in Denver, Colorado between the 12th and in the Field. This hands-on session began with a heated
14th October this year. The IALD hosted convention discussion amongst the audience; debating the necessity
was set in the Grand Hyatt Hotel in Downtown to return to a project to verify and double check your
Denver, which became home to the hundreds of attendees installation is as it should be. So, should you? Discuss…
from many international backgrounds over the following three The Lighting Industry Resource Council (LIRC) proceeded with
days. Set in the mile high city of America, Denver provided this year’s meeting giving thanks to the continuous support
an epic backdrop to the venue. Its vast grass plains are that comes from many directions, financially through donations
abruptly jagged with the foothills of the Rocky Mountains. and through the ever-growing participation support from
The event covered conferences and networking all those involved in the organisation. The IALD team were
opportunities on a large scale, bringing together also please to announce Reiko Chikada into the College of
lighting designers and manufacturers from all over, Fellows. Chikada has been a lighting designer for the last 40
together under the one roof, to encourage new working years, establishing her own design practice and being an active
relationships and re-affirm existing ones. member in the IALD Membership Committee and Board of
The opening Keynote was given by Roberto Schaefer ASC/AIC Directors, organiser and host of IALD Enlighten Asia in 2013,
Cinematographer, and was sponsored by LED Linear. In this 15 and 17. She is also the vice-representative of IALD Japan.
informative talk, Schaefer discussed the use of and importance Following on with talks from day one, we delved into
of lighting on a Hollywood film set. He focused on numerous the process of the new IALD Awards submission with
projects, past and present that he has worked on and explained Ardra Zinkon, who proved invaluable with helping
a running theme of shadows and their power to capture a scene, designers who are going through the application process,
sometimes less is more and as Schaefer claims, “the key to as she was talking from a first hand perspective.
light comes from within the darkness”. Examples of his most John Martin, Senior Design Associate at the Los Angeles
strikingly lit films are The Paper Boy and Quantum Of Solace. architectural lighting design firm KGM Architectural Lighting,
Taking inspiration from music and artwork, Schaefer described opened the floor to discussion on Public Policy: Global
writing with light as an art form that is in place to evoke an Issues and Local Actions. Looking into some of the biggest
emotional or practical feel. This is something that is also all topics brewing conversation in the lighting industry, Martin
too familiar in the architectural lighting industry; as light and challenged the audience to talk about the changes in MEPS
architecture go hand in hand to create these vivid visual effects. policy standards in Australia as well as IoT technology and
In the following days, the conference timetable was how it is having or going to have an impact on our industry.
full to the brim with interesting talks and discussions Furthermore, the floor was opened to discuss ideas such as the
from many notable industry figures, as well as impact of light in the care and health industry, the structure
networking opportunities and student workshops. and process of writing codes, human function factors, human
Craig A. Bernecker from The Lighting Education Institute centric lighting and the psychology of the quality of light.
Parsons School of Design, kicked things off with an open Lighting designer Sabine De Schutter held a talk on the
discussion of Commissioning Lighting System Performance: importance of holding light festivals, as it is both a marketing


Pics: Alexander Morozov

tool for a city to draw people in and together as well as from Available Light delivered a talk on their work for
light being an important tool for creating the identity of the Museum of the American Revolution in Philadelphia.
a space. For example, a geographical divide can be seen When working with a fragile piece of history, not only
in Berlin through lighting, showing a definitive divide is the lighting essential to showing off the exhibit in
between East and West. “Managing the darkness has to be all of its glory, it is also vital for its preservation.
an integral part of conservation,” claims De Schutter. After each day, we were offered a welcome break of evening
In a more technical genre, Andre Mackinnon discussed events hosted by numerous sponsors. Thursday evening was
the importance of longevity of lighting and its the President’s Evening Reception sponsored by Eaton at the
maintenance. He strives for the industry to produce Grand Hyatt Pinnacle Club. The top floor bar with panoramic
a form of training in lighting maintenance operators views of the city and the Rocky Mountains were the perfect
to aid in the forthcoming years of installations. backdrop to the evening of networking and drinks. Friday
Nancy Clanton and Dr Rick Mistrick led an inspiring discussion night we kicked back and relaxed at the fun Punch Bowl
on Spectrum and the human circadian rhythm. How important Social full of bowling and darts, hosted and sponsored by
is the spectrum of light in architectural lighting design? Acuity Brands. The final dinner on Saturday night was set
Visual and Circadian quality are the focal point of this issue, in the picturesque Denver Aquarium where we had dinner
as well as personal or aesthetic preference, but achieving and drinks under the sea, a fantastic and quirky venue for a
the optimal spectrum of light throughout the course of the farewell to the new and old friends we made in Denver.
day and night is an important design planning factor. Closing the event was the keynote from Electronic artist Rafeal
Edwin Smida from Licht Kunst Licht delivered an uplifting Lozano-Hemmar. With years of experience under his belt in
talk on the importance of light, colour and happiness. Using light artwork, Lozano-Hemmar gave a truly inspirational talk
memorable images of a sunset and what that image evokes in on his projects from across the years. With a distinct style
individuals is a universal response. Light has the ability to lift and interpretation of light and its ability to communicate on
our moods, but how? And is it possible to integrate this into a social platform, he delved through political installations to
the architectural world? One example Smida explores is the private business commissions that explored strong themes of
ability light holds in the medical world and the impacts colours social comments and personal comments on human society.
and intensities have on our moods as a recovering patient. A thought provoking and motivational talk to leave on.
Another intriguing concept that was explored at this conference
was that of light and textiles. Alison Fielder, Associate IALD and
Denise Fong, IALD, CLD, both from Stantec discussed the use
of portable lighting that is integrated into fabrics and carpets.
Samples of illuminated clothing were shown throughout the
talk as discussions on the application of lighting onto textiles
vary and what effects can be achieved, from woven, sewn or
embroidered, and what purpose does lit clothing hold?
From a historic perspective, Ted Mather and Rachel Gibney 151
Paris 2017
Editorial Assistant Sarah Cullen attended the 2017
edition of the Professional Lighting Design Conference,
which was held in the City of Light itself, Paris.

t’s been two years since the lighting development in night vision and the use of VR in lighting design.
community collectively explored Rome, Paul Traynor, Light Bureau, discussed an academic approach
Italy for PLDC 2015 and how time flies as we to the change of lighting design and the road to take to
have just returned from Paris for PLDC 2017. professional credibility in the industry, beginning at the
Familiar and new faces arrived at the Palais de Congrés in history of architecture and light, then moving forward to the ÅF
central Paris for three days of inspiring lectures, exciting Lighting Academy that explores a future proposal of education.
experience rooms and engaging exhibition stands. Over the three days in Paris, attendees were welcomed to
Shift Happens was the running theme for this year’s conference, attend many exciting excursions. arc magazine was lucky
and it was evident in conversations and professional talks enough to join Linea Light on a fascinating trip to Les Arts
that the lighting industry is on the brink of mass change Dècoratifs, located inside the Louvre Palace. In collaboration
through approaches to design, construction and technology. with lighting designer Emmanuel Clair, Linea Light worked
As well as the invaluable opportunity to network with closely with the lighting system restoration team to renovate
manufacturers and designers, attendees were also the medieval and Renaissance wing. With previous lighting
inundated with choices of lectures. With the running theme systems dating back to the 1970s, it was essential to re-evaluate
of change in the lighting industry, many of those on the the halogen sources and intervene with new LED replacements
lecture line up discussed this movement and what their that would dramatically reduce energy consumption as well as
expectations are for the future of the lighting world. being a safer, less damaging light source on the paintings.
Tapio Rosenius, Lighting Design Collective, touched on On the Friday, eldoLED organised for the Château de Versailles
numerous topics that explores the idea of lighting design to open its doors to a group of lighting designers for an
as an ‘open ended’ profession existing at the creative edge exclusive viewing of the Château, its grounds and lighting
of the built environment consultancy services, and delves designed by Éclairagistes Associés. The façade of the Castle
into topics such as the anti-disciplinary approach and the Versailles is illuminated by eldoLED PowerPIX and the park,
relevance of architectural lighting design as a profession. access road to the palace and fountains are lit at night by
Colin Ball, BDP, takes on a different angle of discussion and looks POWERdrive 562/S LED drivers with the aim to mimic the
into the Paradigm Shift. Exploring the use of light and projection, thousands of candles used during the reign of Louis XIV.
Ball explored the relationship between video, architecture Lighting designer Armand Zadikian hosted the third excursion
and space, and how they are merging together to form light to the Notre Dame Cathedral. Starting in 2011, Zadikian
projection installations that evoke a psychological response. realised and developed a lighting design that would alleviate
Mark Major, Spiers and Major, looked at the future of city the cathedral from the burdens of the older lighting systems.
lighting and how it’s changed throughout history from To replace the dated luminaires from the 1970s, LEDs were
individual functional lights to light pollution as a result of over incorporated into a respectful, discreet scheme that would
compensating with street lighting, to a technological, futuristic tie in with the spiritual building. The LEDs ensured energy-


saving results that were also reliable and safe, and provided and third with 1500 euros went to LiDS lighting design studio.
the flexibility to create different lighting scenarios for events The winner of Best Newcommer for the PLD
and installations that take place in the house of worship. Recognition Award went to Carlijn Timmermans for
At the conference, three experience rooms her creative visions and concepts, active designs
provided an immersive and engaging activity for and dedication to the lighting community.
audiences to enjoy between lecture times. Award for the Best Partner in the Industry went to iGuzzini for
Sponsored by LEC Lyon, Synesthesia delved into the relationship their funding and support of Dr. Elettra Bordonaro’s Visiting
between light and colour association with numbers through a Research Fellowship in the LSE Sociology Department.
sensory experience. An interesting psychological exploration The winner for the Research Award went to Prof. Carlo Ratti
into the pairing of colours with certain numbers and how at the MIT Boston/US for his future-orientated research
those colours make you feel. What emotion they evoked on real-time cities. The Education Award winner was
to an individual made an interesting discussion point for given to Aalborg University, Copenhagen for their trans-
how coloured light can have an impact on the viewer. disciplinary Master’s programme in Lighting Design.
Proximities took a different approach and looked at the The Daylighting Project award went to The L.A. Courthouse,
potential of light to enhance or limit visual and interpersonal US and was accepted by by Skidmore, Owings and Merrill US
connections with others looked through the medium of who represented their close collaborator HLB Lighting, US.
modern interpretive dance. With some giving feedback The Best New Project was awarded to The Façade Lighting
of feeling extremely uncomfortable around the alien-like of the Kunstmuseum, Basel by iart for its innovative
dancers, and others that reveled in the interaction. integration of a media façade into the architecture.
PLDC concluded its three busy days of business and networking The At Large award went to LightAware project for their
with the celebratory Gala Evening, where the winners of the effort to raise awareness of the impact of artificial lighting on
PLDR awards were announced. Kicking off the awards ceremony human health and wellbeing and encourage discussion and
was the winner of the young designers’ speaker competition, investigation in to the same with the goal of making a difference.
The Challenge. With 1000 euros at stake, the winner for the Last but not least, the long anticipated Lifetime Achievement
final presentation round was awarded to Zhuofei Ren from award went to Japanese lighting designer, Kaoru Mende, for
Suoshi Lighting Design Studio, mentored by Paul Traynor, his life’s work in architectural, environmental and interior
for a piece titled ‘Living in the colours of the colourblind’. design lighting. He also heads the ‘Lighting Detectives’,
The Future of Urban Lighting competition showcased its ten a collective that specialise in the culture of lighting.
best entries during the Professional Lighting Design Week. Of A recent announcement has confirmed the what was bi-
these ten, three of them were awarded first, second and third annual PLDC event will now become an annual event
monetary prizes. First went to the Urban Senses team with and is expanding across to Asia and America.
5000 euros, second with 3000 euros went to Kerem Asfuroglu 153

A round up of this year’s 2017 product
releases at PLDC Paris 2017. 2

The PLanin
1 LED Luks
The Plain LED suspended luminaire, designed by Kai Piippo
of ÅF Lighting, produces a medium beam downlight, a wide
beam uplight and achieves up to 135lm/W. Being one of the
early adopters of Sunlike LEDs from Seoul Semiconductor, it
delivers light close to the sunlight spectrum with CRI97.

GoboLED 7 - Pro Unlimited Outdoor Image Creation
Brighter than a traditional 575W discharge lamp and packed
with multiple effects and patterns, GOBOLED 7-Pro will offer 5
broad creative design integration for permanent exterior
installations projecting a bright and accurate rendition of
graphic designs or logos in outdoor and indoor locations.

Surfaces Aila
3 Cooledge 5 Ansorg
SURFACES is the fusion of architecture and light-delivering Aila, the new aisle lighting solution by Ansorg, delivers energy
immersive illumination that replicates natural light, creates more saving and cost efficiency to food retailers. The LED luminaire
human-centric environments and accentuates architectural has a flat design and is available in a surface-mounted
materials that define spaces. Photometric files are available for and recessed version. It features a pivoted lens system
all standard product options to make specification simple and with different beam characteristics for asymmetrical light
ensure adherence with design requirements. It can be created distribution and fast adaption. It effectively showcases shelf
anywhere from surface-mounted, suspended or flush mount products, and the wide beam version additionally ensures
ceilings to walls. Tunable white capability in a scalable platform high quality centre aisle lighting, as a result of its flexibility,
optimised for large areas and designed for simple installation. Aila is also suitable as basic, POS or gondola top lighting.

6 Efro
Lumenalpha Cylinder is a high-performance LED lighting Efro is a meticulous structural design for humidity-resistance
solution for commercial, retail and hospitality applications. and will provide assurance of electrical safety in bathrooms.
The cylinder architectural family offers a wide range of It has a dot-free surface for reflective surface material and a high
sizes, mounting options, lumen outputs, as well as field- efficacy LED package with three steps Macadam 607 lm/m, 8.4 W/m
changeable accessories and optics (15/25/40 and 60 degrees in 2700K, Ra>93. Five colour variations 4200K, 3500K, 3000K, 2700K,
asymmetric wallwash and double asymmetric distribution). 2400K. Five length variations 162 mm, 302 mm, 582 mm, 862 mm, 1142 mm. It has an optional aluminium channel for wall mounting
and is ideal for vanity lighting purposes with high colour rendering
and smooth lighting distribution.

Quality-driven European Manufacturer of
Technical and Architectural LED Luminaires
Led by passion and inspired by the dialog with you, we create our standard product
lines as well as custom-made lighting solutions, standing out for their uncompromised
quality, functionality, efficiency and appealing design. Located in Slovenia, our value is
to manufacture and sell products 100% made in EU for applications such as offices,
educational and administration buildings, industrial plants, sport and event halls.

mondo-236x333-OK.indd 1 28/11/17 07:12


7 L&L Luce & Light

Palladiano is a family of fixtures, designed by Francesco Iannone,

whose distinctive design can offer multiple configurations. It is
enormously versatile, thanks to its harmonious shape, featuring
two distinctive semi-circular arms and adjustable optics. Its
personality really comes to the fore in combination with the
optical accessories – colour and shadow-effect that bring to
mind natural environments and create unique settings.

Yori Evo Ghostrack

8 Reggiani
Yori Evo Ghostrack lets you create unique lighting schemes
and configurations. Thanks to its brand new patented
technology it features an invisible adapter and driver for
single or clusters installations on a standard 3-circuit track.
The series includes new optics that allows outstanding
light output, beam angles and intensity peaks. The range
now offers a wider choice of accessories for flexibility and
ten brand new finishes to make a unique scheme.

9 Invisible Light
Linea Light

Invisible light is a multi-optical spotlight to be installed in false

ceilings and available in three direct light versions: rectangular
with three and six spots, square with nine spots. It has a matt
white painted aluminum frame and is suitable for accent lighting.
Special cut-off cells grant visual comfort for users as well as
the magnetic fastening, recessed and screened LED source.

Precision Lighting
New to the display lighting market, Atto is a tiny lockable
spotlight that delivers clean light distribution from modular
designs so inconspicuous they’re barely noticeable. Delivering
105lm with just 1W, Atto is available with a wide range of
optics, finishes and mounting options, allowing architects
and designers to select by aesthetic, beam distribution
and colour temperature, to suit any type of display.

12 Milestone
The Milestone module introduces an indirect lighting

CITILED concept for LED light source. It has better glare control
Citizen and thermal management, more homogeneous lighting
The application of dramatic light installations to make distribution, easier maintenance and perfect cut-off with
an illuminated object look more beautiful has been no uplight. Specially designed multifaceted reflectors send
growing, and the demand for ‘quality of light’ has become the light to wider places where standard lenses fail. An IP66
increasingly more diversified. In response to these graded light itself, Milestone module is much like a lamp.
needs for lighting, Citizen Electronics has developed the By adding more modules to a fixture, you can get different
high chromatic LEDs and the CITILED Vivid series. lumen outputs as well as different light distribution.

Fitted LED design solutions – for interior and exterior

for business houses and private residences, façades, parcs,

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

above: magnetic minispot LED-LUC | below: LED-LIGHTLINE

by TTC Timmler Technology

TTC Timmler Technology GmbH

Christian-Schäfer-Str. 8
D-53881 Flamersheim

T +49 2255 921 200

arc on ARC
David Morgan takes
a closer look at the
ARC accent range
from Soraa, a new
nly nine years after Soraa was originally set up
to commercialise the production of white LEDs

line of luminaires
based on Gallium Nitride on Gallium Nitride
(GaN on GaN) LED technology, the company
has now launched a range of luminaires

built around its LED

incorporating their LED light sources and light
control components.
The Soraa story started in 2007 as a team of pioneering professors

engines and optics.

from the worlds of engineering and semiconductors – Nobel Prize
winner Dr Shuji Nakamura, inventor of the blue laser and LED, Dr
Steven DenBaars, founder of Nitres, and Dr James Speck of U.C. Santa
Barbara’s College of Engineering – came together with funding from
Vinod Khosla to develop and commercialise GaN on GaN technology
for LED lighting.
In the short period since Soraa was formed, the company has been
very successful at creating awareness and demand for the superior
light quality of their retrofit lamps and light engines that give a lit
effect very close to halogen lamps.
Soraa is now a recognised and established supplier of high quality
retrofit LED lamps and concentrates its marketing activity on
lighting professionals to specify Soraa for retail, hospitality, gallery
and premium residential projects.
Having launched the company and demonstrated that the GaN on
GaN technology works well, Soraa has now decided to go beyond
providing light sources and has developed a range of luminaires built
around its LED engines and optics.
The initial offering includes a limited variety of both ambient and
accent lighting luminaires. The Soraa ARC accent range, which I am
reviewing here, includes spotlights, downlights and a double-wire
pendant system. Two sizes are available, based around the diameters
of the Soraa MR16 and AR111 light sources. All the existing Snap
beam shaping, colour temperature adjustment and glare control
accessories can be used with the versions fitted with the Snap
10-degree lenses.
In terms of light quality, output and lit effect there are no big
surprises from these products since the various luminaires
incorporate the same light sources and folded prism optics used in
the Soraa retrofit lamps and light engines. The light quality is as
close to halogen as I have seen from any LED source and the lighting
specifiers I work with all have good things to say about the lit effect
of Soraa lamps.
The range is modular so that the same heat sink casting, light engine
and Snap accessories are used on all products of that diameter. The
heat sink is a nice quality die cast aluminium component instead of
the machined extrusion provided with the Soraa light engines and
the size has been reduced to the minimum size while still ensuring
safe operation of the LED source. The running temperature of the
20-watt 100mm spotlight heat sink was still comfortable to touch
after a few hours. The light output from the smaller size light engine
David Morgan Associates, a London-
based international design consultancy fitted with a 50mm lens is 1,000 lumens at 18 watts, except for the
specialising in luminaire design and
development and is also MD of Radiant
10-degree Snap version, which is around twice the level from a Soraa
Architectural Lighting. MR16 9-watt lamp.
Web: The European versions of the spotlights incorporate a side-mounted


Soraa ARC track

Soraa ARC track Soraa ARC track

Soraa ARC adjustable Soraa ARC pendant Soraa ARC pendant

integral mains voltage driver enclosure. They are supplied with However, the overall design of the individual luminaires has a
a global track adapter, which will fit into a wide range of existing somewhat bland appearance. Whilst the aim may be to allow the
installed tracks, particularly those found in retail applications. range to be used in a wide variety of applications, in fact it does little
Dimming the spotlights at the moment can only be controlled by to promote the Soraa brand or differentiate it in a crowded display
phase dimmers but it is understood that DALI dimming versions will lighting market. Maybe a ‘Soraa Inside’ sticker would help to point
be available in due course. Clip on anti-glare snoots in both straight out that is not just another spotlight range.
and angle-cut types can be fitted to the spotlights after any Snap The luminaire market is unlike the light source market and often
accessories have been first installed. requires many variations on each theme to match each niche. Both
The downlights are available in only one size, based on the 50mm distinctive and vanilla designs for the same type of product are often
light engine, in square and round versions with trimmed and trimless required from the same brand in order to satisfy specifiers and end-
mounting options. Only adjustable angle versions are available at the users.
moment, with a maximum aiming angle of 35-degrees. Downlight For lighting specifiers who are already familiar with Soraa, recognise
and wall-wash trims fit into the housings and are available in four the superior light quality and are looking for a simple range of
colour finishes including Tangerine, which I assume provides a spotlights, then the ARC range may well be suitable. However, I feel
goldish effect. that the downlight range will need to be expanded to offer more
The adjustable surface-mounted projectors are supplied in two sizes sizes, higher output and other options in order to make much of a
and are also based on the same light engine sub assembly used for the splash in this particular overcrowded market.
spotlights and other products. The cylindrical design can be partially The pendants and adjustable luminaires are both fine but are orphan
recessed into the ceiling, hiding the driver enclosure to create a slim, products in need of a wider family.
fully adjustable projector that can angle up to 90-degrees. At the It is hard to gauge the impact of this product launch on Soraa’s OEM
moment, only phase dimming is available for this series. customers who are currently using their integrated light engines.
The pendant versions are also available in two sizes and come as a kit Will these customers continue to invest in developing new products
with the driver housed in the ceiling plate and two insulated wires and versions if Soraa has now become a direct competitor in the
supporting the light engine. It is not clear from the Soraa literature luminaire market?
how the length of the cables can be adjusted but I am assured that The Soraa ARC range is well designed and engineered and is likely to
this happens in the ceiling canopy succeed in specific markets but it may be that there is an opportunity
The ARC range appears to have been carefully developed to to project the Soraa brand more effectively with a more refined and
produce the widest range of options using the minimum number of distinctive design. Perhaps that should be the plan for the second
components, which is pragmatic. This results in numerous versions generation of Soraa luminaires.
that can be used in a wide variety of lighting applications. 159
2 4

Middle Eastern Promises


We take a closer look at some of the latest

innovations on show at Light Middle East 2017.

TRINOS 3D LED Flex 40 IP65 System
1 Zumtobel Radiant Lighting
The TRINOS industrial LED luminaire combines the flexibility and The 3D LED Flex 40 IP65 System is a three-dimensionally flexible,
functionality of a trunking system with the durability of an IP65 high power, modular, linear LED lighting system, incorporating
solution. As a result, precise and high-quality work is supported in a patented articulated ball-joint system between the heatsink
locations that demand higher protection against moisture and dust. modules, allowing it to follow building surfaces that are non-linear
A three-piece sealing concept ensures the highest levels of with curved profiles and façades.
resistance, safety and performance at all times. The proven split- Each 100mm module incorporates four Luxeon Z red LEDs, a highly
lens technology from the TECTON C portfolio is also used in the efficient 8-degree Gaggione lens, and custom anti-glare snoots.
TRINOS luminaires, which are protected from contamination and Each module is individually addressable via DMX.
moisture from above, below and at both ends.

Targetti The SGM P-10 low-profile, yet extremely powerful, full colour LED
ZENO NSP is the first projector in the Targetti portfolio equipped luminaire carries the functionalities of a washlight, a strobe light, a
with the Narrow Spot optic system, developed to create a defined floodlight, a pixel light, and a blinder with a non-fading continuous
and precise beam. ZENO NSP is suitable for museum or retail output. It incorporates 48 high-power RGBW 24W LEDs with eight
lighting where a perfect visibility and illumination is needed. individually controllable segments and a staggering output of
The NSP optic works by reflection: the lamp is hidden from sight 40,000 lumens. With all this crossover technology combined in one
and aimed towards the parabolic reflector, which collimates the single luminaire, SGM’s P-10 is truly the perfect multi-purpose LED
beam and emits a particularly defined cone of light. fixture and a solid long-term investment.
The discrete and elegant design of the product makes it able to
perfectly integrate in every environment.

Beacon Muse XL
The Concord Beacon Muse XL provides total control and adjustability
Nexo Luce of both beam angle and light levels combined with typical Ra97
OVO 18UN by Nexo Luce is designed to create a dramatic ultra- colour rendering, offering a truly flexible product for gallery and
narrow light beam on façades and architectural surfaces. It is display applications. The Beacon Muse XL features intelligent LED
equipped with 3.5-inch optics for accurate projection while able technology and ancient lens principles to create a fully adjustable
to reach up to 59lux at 80-metres distance. This LED projector has spotlight. Boasting an increased output over the original Beacon
an adjustable beam position; aluminium and stainless steel body Muse, the luminaire provides a flexible, high quality solution.
AISI 316L; and is suitable for outdoor installations thanks to IP65 The beam angle can be adjusted from ten to 70-degrees as well
waterproof protection and thermal shock-resistant tempered providing a dimmable range between 5-100%.
safety glass.


Hydroeclipse IP65 DRX5

7 PUK 10 Remote Controlled Lighting
A new range of outdoor wall-mounted appliques, including ten With a cut out of just 145mm, DRX5 is also small behind the scenes
different models of round, square and rectangular shapes. so it’s suitable for low ceiling voids. A variety of powerful beams
Used mainly for decoration of outdoor areas, once switched on the enables pin spotting or flooding without breaking the ceiling line. The
Hydroeclipse range creates a beautiful luminous halo, discrete and four-degree beam is the most precise option of its kind, even when
elegant, that highlights the wall texture. positioned on grand high ceilings. DRX5-S offers wider options, all
With a depth of just 33mm and surface-mounted, the most of which are single optics. All have motorised, remote controlled full
representative shape is the round luminaire, that seems to recreate 360-degree pan and 35-degree tilt and are compatible with DALI,
a lunar eclipse effect. DMX and RCL’s award winning iDirect app.

TILE Exterior
8 11
Cooledge Mike Stoane Lighting
Imagine the infinite design possibilities to create and build with Mike Stoane Lighting’s smallest Xicato-based spotlight at Ø50mm,
light. Cooledge’s TILE Exterior frees light from the constraints of the STX2.50.BLE accepts XTM and the XIM in numerous variants.
fixtures to illuminate any architectural geometry, scale with ease, Optics are easily interchangeable, and there is provision for further
and give designers entirely new ways to accentuate buildings. accessories including new framing projector.
Unlike traditional light sources such as standard wash, flood or Its BLE capability opens up a wealth of control options, as well
grazing applications used to light buildings, TILE Exterior’s IP65 as the expected deep and smooth flicker-free dimming. MSL are
rated system sets uniquely new standards for outdoor applications seeing this and others in the family used for intelligent lighting
to enable whole building façades, canopies and entrance-ways to applications that enhance the user experience, can be used in
come to life with light. intelligent art work conservation scenarios and all without the need for costly and complicated wired control system installations.

Single Source series

9 Precision Lighting
Precision Lighting have taken the Retro, Evo and Microspot and Lightgraphix
given them a healthy injection of new light engines, impressive The LD95 is a miniature floor or ceiling mounted LED spotlight,
optics and neat modifications. The Single Source series has been designed for applications where a recessed fitting cannot be
developed specifically to replicate the best characteristics of a installed. Designed to blend into its surroundings, it features a deep
halogen light source whilst maintaining the efficacy improvements recessed LED and optional glare shield, removing the need for a
from LED. The single TIR optic light engines produce clean, crisp large cowl. Using the latest in LED technology, with a typical 93 CRI
shadows, with high peak intensities down to a six-degree beam in 3000K warm white, the LD95 offers an excellent diffused beam
angle. Each family is available in two output packages of 405 and shape from a range of optics. The LD95 incorporates an integral
700 delivered lumens. anti-wicking barrier for added protection.

9 11

8 10 12 161
Version 2.0
This year’s Light Middle East saw the return of Light.ication,
an event that invites architecture and design students to
work with lighting designers on special, one-off installations.

ight.ication stands for lighting design through comprised of students from Heriot Watt University Dubai Campus,
education. Founded by Sakina Dugawalla, Principal at Manipal University Dubai and American University in Dubai.
Light.Func – a boutique lighting design studio based in The theme for this year was Holi Festival – Interpretation of
both UAE and Tanzania, Light.ication, now in its second Light. “Following on last year’s Culture of Light theme, the
year, serves as the first platform in the Middle East to combine Holi Festival seemed apt for what it represents – culture,
education, professional design and technicality in lighting design. colour, excitement, fun, interaction,” said Dugawalla.
Each team was made up of architecture/interior design/engineering “The whole idea behind Light.ication, is to infuse an otherwise
students, a lighting design studio and manufacturers/suppliers serious take on lighting design, with fun and mentorship, and to
exhibiting at Light Middle East, with the aim to each create a raise awareness for the creativity that the lighting design community
lighting installation to be displayed for the duration of show. For strives for. I am so proud of the students for their hard work, the
the studios, mentorship is key, showing students the complete manufacturers for their tenacity and support, and for the studios who
design process, and raising awareness on the importance of lighting gave back so much to the community and really went the distance.”
design; for the students, a hands-on experience is gained, and for Team one’s CD+M and Heriot Watt University’s concept
the suppliers, their involvement clearly shows the dynamics of was to have visitors experience the Holi Festival.
how important a relationship between designers and product is. People dressed in white, throwing colour around in
Four teams, mentored by Nathan Savage Lighting Design, Heba celebration signals the start of the Holi festival.
Hani, CD+M Lighting Design Group and DPA Lighting Consultants, Initially, white light is used to depict calmness. A white sheet and


Previous page Nathan Savage

Lighting Design and Manipal
University’s concept, examining the
issue of depression.
Left The Moment of Celebration
concept, developed by DPA Lighting
Consultants and American University
in Dubai (AUD) Team B.
Below The winning concept,
developed by CD+M Lighting Design
Group and Heriot-Watt.
Bottom The final concept, Frame of
Light, designed by Heba Hani and
AUD Team A.

artefacts dabbed in colour become visible, bathed coming from the lotus flower. This particular
in total white. Music progresses and washes of flower represents purity and spiritual perfection.
colour illuminate the booth blue, red, yellow and The team also felt the lotus combines with
green, merging to the point that you can no longer water to blossom from mud to a pure flower,
tell them apart. Using different effects, visitors which is the symbol of resurrection.
are immersed within a shadow play, rushing lines Team four, DPA Lighting Consultants and AUD
of light that chase all around the booth, finally Team B, used light, colour and graphics to create a
glowing remnants of the festival are visible as Moment of Celebration. Unity in Holi is identified
handprints, pebbles and markings. Music and by the non-descript silhouettes that conveyed
light are used in tandem moving from calm, how Holi breaks the barriers of age, gender, class
play, flurry of excitement, to the aftermath. and creed, thereby teaching us how to celebrate
Team two, Nathan Savage and Manipal University, happiness, joy and fulfilment as a single entity. The
threw light on the scourge of depression. As one vibrancy created with the sync of light and graphics
enters a dark space, dim warm light reveals a within the installation depicts the playfulness
crouching figure. In succession, two silhouettes and freedom which is the essence of Holi.
with light behind, reveal a figure rising from a The judges, comprised of Martin Valentine,
crouching to half standing, and finally full standing Lighting Expert at Abu Dhabi Municipality and
position. The first crouched position represents now Global Design Director at Ligman, Brendan
a depressed person, his shrunken posture Keely, Secretary at the Society of Light & Lighting,
speaking of a state of mind assailed by negative and Simon McNally, Director at McNally Design
emotion and self-doubt. The situation is not International, named CD+M and Heriot-Watt
irreparable, motivational words rupture his shell as winners of the competition. The judges were
of gloom and despair; gradually the figure rises impressed by how simple their concept was, the
infused with hope until he is fully transformed attention to detail, and very realistic immersion
into a state of dynamism and positivity. of each visitor within their installation that gave
The story was told through staged lighting and the experience of being a part of the Holi Festival.
music where first a cool white light becomes DPA & AUD Team B got highly commended for
warm and dim, silhouetting the figure, as he their modern and mind-testing installation.
rises, words are spoken, the light gets brighter Dugawalla was very pleased with the second
with a final burst of colour enveloping the figure, instalment of Light.ication, and is already looking
lifting him up towards the twinkle of heavens ahead to next year. She said: “The bar has been
above. Their concept focuses on how positive raised. In such a fast-moving industry, it is only
human intervention, the most important element apt that we have another surprise coming up
of the Holi Festival, can prevent depression. for next year, so watch this space. The only hint
AUD was so pleased with their participation we can give, is that the professional realm of
in last year’s edition that they had two involvement within Light.ication, will broaden!”
teams participate in this year’s edition.
Team three’s Heba Hani and AUD Team A
focused on the Frame of Light, with inspiration 163

Dark Source Stories

created by Kerem Asfuroglu 165


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


24-25 January 27 February - 1 March 10-12 May
London, UK Mexico City, Mexico Bangkok, Thailand


31 January - 2 February 13-14 March 31 May
Warsaw, Poland New York City, USA London, UK


6-8 February 18-23 March 9-12 June
London, UK Frankfurt, Germany Guangzhou, China www.guangzhou-international-lighting-


6-9 February 6-10 May 11-13 July
Amsterdam, Netherlands Chicago, USA Panama City, Panama







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ADO............................................................ 157 Hacel............................................................ 6-7 Nordic Light....................................................2
Anolis........................................................... 4-5 Heper Group................................................ 33 NormaGrup................................................. 17
Applelec...................................................... 121 Hermes Trading........................................ 169 Optelma....................................................... 95
Architects@Work......................................... 16 Huda............................................................. 15 P.U.K............................................................. 89
Astro............................................................. 43 IALD............................................................ 129 Prolicht......................................................... 61
Barrisol......................................................... 35 Illumination Physics.................................... 19 Rako............................................................ 123
Cariboni................................................... 27,47 Imperial........................................................ 67 Rise............................................................. 147
Chromateq................................................. 157 InterLumi................................................... 127 Rising Dragon Technology......................... 12
Citizen Electronics..................................... 171 KKDC............................................................. 75 Roxo Lighting............................................. 127
CLS................................................................ 10 LEC Lyon..................................................... 103 Spectral........................................................ 79
darc awards / decorative ......................... 8-9 LED Linear.................................................. 172 StrongLED.................................................... 87
David Morgan Associates......................... 123 Led Luks..................................................... 155 Studio Due................................................. 103
Dial.............................................................. 137 Lee Filters .................................................... 71 Studio ZNA................................................. 169
ERCO............................................................. 50 Light & Building......................................... 137 Surface Design Show................................ 133
Forge Europa............................................. 147 Lightgraphix................................................. 99 Teknolight.................................................... 14
Forma........................................................... 23 Linea Light Group....................................... 41 Trilux........................................................... 109
Fuhua Electronic ...................................... 113 Luxonic......................................................... 25 Unilamp........................................................ 13
Gewiss........................................................ 117 Match Lighting Studio............................... 169 Vode.............................................................. 39
Glamox......................................................... 91 MBN.............................................................. 18 Wibre............................................................ 77
Griven........................................................... 21 Neonlite...........................................................3 Xicato.......................................................... 145
Guangzhou International Lighting Exhibition...131 Nicolaudie.................................................... 11 Zumtobel...................................................... 59


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We are looking for a driven and organized individual, from a design or construction
Lighting Development Manager related background to join our growing London design team.
The full-time position includes assisting with project deliverables, develop and grow
We have a fantastic opportunity opening up in our Lebanese lighting department for
a Lighting Development Manager. as an dividual along with the company.
Based in Beirut, and covering the Lebanese lighting market. Hermes Trading is The candidate shall show willingness to learn, be pro-active, have good
committed to providing completely original and ‘out of the box’ lighting products communication skills and demonstrate they can manage their own time to deliver
through meticulous manufacturing and close attention to detail. We represent some project tasks.
of the most prestigious European brands in the architectural industry as well as the
finest decorative residences. Responsibilities will include but not be limited to:
• Undertaking design tasks under the guidance of the project leader.
• Production of lighting reports, plans, details and luminaire schedules.
Your responsibilities Your Profile: • Production of lighting calculations and model building.
- The main role will require you to - You will have a Bachelor’s Degree in • Hand sketching lighting concepts and details.
coordinate with external engineering Architecture from a reputable university. • Photoshop image manipulation.
firms, such as the interior designers - A minimum of 5 years experience • Liaising with lighting manufacturers and suppliers.
and architects, to specify the lighting in the lighting industry dealing with
for a project at the early stages of project designs and/or sales.
development and discuss technical - You will have a strong grasp of the
issues related to the design. residential and luxury lighting sector. • 0-2 years of working experience in lighting design.
- You will promote the company - Excellent written and spoken skills in • Proficient in AutoCAD, Adobe Photoshop, Microsoft Work & Powerpoint.
products and provide technical English. Italian would be an advantage, • Knowledge of Adobe Indesign, Dialux / Evo, SketchUp would be advantageous.
assistance, whilst maintaining and but not essential. • Portfolio demonstrating previous work and experience.
developing existing and new customers - You will have a passion for • Good communication and presentation skills.
and their projects in Lebanon. architecture, design and lighting • Good written and spoken English language.
- You will manage project markets as techniques and you will be enthusiastic
well as residential markets, keeping and creative when solving technical For further details about Match Lighting Studio, please refer to our website:
updated lists and statuses of future problems.
opportunities. - Being a team player and self-
motivated are also important. Please e-mail your application letter and CV along with your portfolio/samples of
work to
Direct applicants only, no recruitment agencies.
Our Proposition:
For the successful applicant, we are pleased to offer a great apartment in the heart of
Beirut in close proximity to the office, if you are a non-Lebanese resident.
Salary is to be determined on previous experience.

Application Process:
To apply, please email your CV to: with your name and
‘Lighting Development Manager’ in the subject line.
We look forward to receiving you application.

Looking for
Creative staff?
We’ve got it covered.
Studio ZNA is a creative lighting design practice. We have
extensive experience in museum & gallery, high end retail, mondo*arc has the most targeted circulation of any
commercial & residential buildings, theatre, opera and film.
We are looking to take on a designer at junior level, who will
international lighting magazine.
have already been working in a similar field for a year or who
is at least passionate about this discipline and keen to learn Look at our International Lighting Design Survey to
more. The ideal candidate should have either formal training see what we mean.
in lighting design or some relevant experience in the industry.

Candidate requirements: Reach our comprehensive circulation of 12,000

lighting designers, consultants, architects,
• Fluency in English
• A strong lighting design portfolio
manufacturers, distributors and end users in 107
• Previous experience working for independent lighting countries. Adverts are also included in the digital
design consultancy or similar. issue and website.
• Knowledge of Autocad and Creative Suite essential
• Some knowledge of lighting suppliers
• Knowledge of lighting design packages preferable (Dialux, Call Andy White on +44 161 476 8350
Relux, etc) or email
• Some knowledge of further computer software packages,
including 2D/3D (Rhino/etc) and graphics software

Please e-mail your application letter and CV along with

examples of completed projects where you have had a
significant contribution to Julie Riley

#01 Light Collective Curated by

“You can’t wait for inspiration.

You have to go and find it with a club.”
Jack London

Swim in Mosquito Bay
The southern shore of the island of Vieques, Puerto Rico.
The bioluminescence in this bay has been officially declared the
brightest in the world by the Guinness Book of World Records.
When the dinoflagellates that live within the water of the bay
come into contact with another organism, or become excited,
they produce a bright burst of blue light.
This amazing natural phenomenon is best experienced during
a “New Moon” phase.
Do you have to ask? Who wouldn’t want to swim in light?


Make your Daily life more Vivid
I t ’s n o t a b o u t a d d i n g o r f a k i n g c o l o r s .
I t i s a b o u t b r i n g i n g o u t t h e s u b t l e b e a u t y.

Standard CITILED
LED Vivid Series

CITILED Vivid Series Brilliant Type

1-23-1,Kamikurechi, Fujiyoshida-shi, Yamanashi-ken 403-0001, Japan
CITILED is a trademark or a registered trademark of Citizen Electronics Co., Ltd. Japan

C1 C2 C3 C4 C5 C6 C7 C8 C9 C10 C11 C12 C13 C14 C15