#128

Cover Story:
Apple Marina Bay Sands
Prof. Dr. Thomas RÖmhild
Sanjit Bahra
Retail Lighting
 E

15.5mm

M1:1 22mm

Minirail 48V track

Small cross section, large flexibility
Miniaturised, flexible and - Available as surface-mounted, recessed and pendant solutions
efficient. Minirail 48V enables
high quality lighting concepts - Wide range of accessories
with extremely compact tracks
and spotlights. - Wireless connectivity via Casambi Bluetooth, Zigbee and DALI
www.erco.com/minirail-48v - Safety class III and connections protected against polarity reversal

- Efficient central power supply with up to 500W

- Also available as a singlet

Light is the fourth dimension of architecture

220523-ERCO_Minirail_236x333-EN.indd 1 23.05.22 14:55

Illumination
that takes your breath away

The world’s most iconic architecture deserves premier facade lighting solutions to match.
Lumascape is proud to offer a full range of best-in-class luminaires and control systems to
transform any building into a dazzling display of performance art with the power of light.

ARCHITECTURAL & FACADE LIGHTING

Learn more. Visit lumascape.com
Creative solutions by Hacel

Infinitas Micro ®

The offices of Lambert Smith Hampton in Newcastle,

utilise class leading architectural Infinitas® luminaires,
designed and manufactured in the UK by Hacel.

Infinitas® is offered in a range of Surface, Recessed

and Pendant luminaires, providing high quality and
performance lighting with a UGR<19, helping to
maintain a stimulating working environment.

The modern open plan environment creatively utilises

varying shapes of Infinitas® LED luminaires with striking
effect.

Hacels range of Infinitas® luminaires can incorporate

the latest Bluetooth Low Energy control platforms
offering intelligent, wireless lighting control. This smart,
intuitive solution is controlled via an app enabling users
to interact with lighting to suit their requirements.

Infinitas® Architectural luminaires of superior quality

and class leading performance, proudly designed and
manufactured in the UK by Hacel

Infinitas® Micro, Nano and Nano Xcel

H i s t o r y Knowledge Vision T r u s t
www.hacel.co.uk
 LET THERE

ROYAL MYCONIAN, MYKONOS, GREECE

18-20 OCTOBER 2022
www.darcsessions.com
E BE LIGHT

The networking event for specifiers and suppliers of international lighting projects
 STEP INTO THE…

The UK’s only dedicated lighting specification exhibition

22 & 23 November 2022
Business Design Centre
Islington • London

www.lightexpo.london
 I
Adv May 2022 art versie 4.indd 1 17/05/2022 09:02
www.
acevel
.com
 The First Diamond Certified LED
SunLike natural sun spectrum LEDs are the world’s first
LEDs to produce light that closely matches the spectrum
of natural sunlight, delivering human-centric lighting.

The light sources with SunLike Series LEDs more

accu
accurately show the color of objects as they would
appear in natural sunlight. It is optimized to natural
light spectra and color rendition Rating “Diamond”
based on IES TM-30-20 Fidelity intent from UL Labs.

https://verify.ul.com/verifications/520
It delivers considerable benefits of significant vivid color,
detail contrast, and homogeneous quality of light.

www.seoulsemicon.com
info.europe@seoulsemicon.com
Reimagining
Retail
Lighting

Retail spaces never stop developing. eldoLED LED driver
technology provides the flexibility required to keep up with
the ever changing lighting needs of today – and tomorrow.
Whether you need to develop or change lighting
­configurations, learn more about how your space is used,
or integrate the latest developments in sustainability or
health & wellbeing, we can support you.
Bring true Quality of Light to your retail projects – specify
eldoLED’s fully programmable LED drivers for consistent,
flicker safe and comfortable lighting that makes customers
feel right at home.
Find out what eldoLED can do for you!
www.eldoled.com/contact
REPLACEABLE LIGHT ENGINES
THE DIFFERENCE IS IN THE DETAIL.
As part of our ongoing commitment to sustainable manufacturing, RLE system features:
we are pleased to officially launch our RLE system across > Interchangeable modular engine insert, resulting in minimal waste
18 miniature products. We are the first manufacturer to introduce an
> Integrated into products rated up to IP67
exterior rated system of this kind, across multiple products, which will
provide projects with an unlimited ability to repair and upgrade > Easily replace or upgrade LED engines whilst onsite with a simple tool
LED engines onsite. Scan the QR code to watch our RLE launch video > Change colour temperatures and optics at any point
and find out more about our system, or visit www.lightgraphix.co.uk.
> Shorter lead times on RLE products as LED assemblies are pre-built

Welcome
For anyone that has ever stepped foot inside an
Apple store, you’ll know that it isn’t necessarily just
about the products on show, but rather the overall
experience of the space. Sometimes this gets
to the point that it’s rare to see anyone actually
purchasing anything as they instead prefer to play
on display phones and tablets, but this is surely
a testament to the inviting environment fostered
within each store.
With this in mind, it was an easy decision for us, as
part of this issue’s Retail Lighting project focus, to
step inside one of the latest, most impressive Apple
stores to date - Apple Marina Bay Sands.
A continuation of the long-standing relationship
between the tech giants and Foster + Partners,
Apple Marina Bay Sands exemplifies the dizzying
heights that can be achieved in retail design,
standing proudly on the Singapore marina as a
remarkable piece of architecture, and a remarkable
work of art. The project was the natural choice to
grace the cover of this issue, and you can find out
more about the design of this beautiful store on
page 70.
Front cover: Apple Marina Bay Sands,
Singapore (Image: Finbarr Fallon)
#128
I’m also thrilled to say that we’ve got not one, but
two fascinating “Talking With...” interviews lined
up in this edition. Firstly, it was my pleasure to
speak to Prof. Dr. Thomas Römhild on the eve of
his retirement. The founder of the Architectural
Lighting Design Master’s course at Hochschule
Wismar, it’s not a stretch to say that he is directly
responsible for training and educating a huge
proportion of the lighting designers working today.
We at [d]arc media wish him all the very best in
his retirement, and congratulate him on a stellar
career!
Elsewhere, as we continue the discussion on
diversity and inclusion, I sat down with Sanjit Bahra,
Founder of DesignPlusLight, to talk about his
experiences as a gay man of colour, and the need
for greater representation throughout the industry.
Finally, as I’m sure you’ll have noticed, real life,
in-person events are beginning to open up around
the world, which is obviously amazing to see. In
recent weeks, we held the second edition of [d]arc
sessions in Ras Al Khaimah, UAE; Milan was alive
with activity for the returning Milan Design Week;
and I even ventured over to Austria for a special
event at Zumtobel’s Dornbirn headquarters. Read
about all of these events later in the magazine.
Enjoy the issue!
Matt Waring
Editor
 #128

Inside this issue

Regulars Features 042

022 Event Diary 030 Women In Lighting Awards

The second Women in Lighting Awards
026 Drawing Board honoured women outside the sphere
of lighting design.
034 In Conversation
Edward Bartholomew explains more 042 Prof. Dr. Thomas Römhild
about the Light Justice project. The founder of Hochschule Wismar’s
Architectural Lighting Master’s
036 Snapshot programme talks about its success.
Studio All
060 Sanjit Bahra
038 Designers Mind Bahra opens up on issues surrounding
Kaye Preston and Kael Gillam discuss representation and diversity in the 052
work, wellbeing and the importance lighting industry.
of rest.
102 [d]arc sessions
120 GreenLight Alliance Read our recap of [d]arc sessions MEA,
With Benz Roos, Senior Lighting held in Ras Al Khaimah, UAE, this April.
Designer at Speirs Major
106 Milan Design Week
128 Product Launches A look back at some of the highlights
from this year’s design showcase.
130 Manufacturer Case Studies
114 Pitch Dark
146 Bucket List Light Collective hosted a camping trip
to experience the lunar eclipse.
068
116 Live.Light
Zumtobel Group opened the doors of
Eye Openers its Dornbirn HQ for a conference and
exhibition.
024 Stalactite
WHITEvoid 125 Paolo Creati
Lighting design as a strategy for
040 Torre di Barì inclusion.
essequadro | p

050 Novartis Pavillon

AMDL Circle / iart Projects
069 SCIENTIA 052 Theatre Royal Drury Lane 106
Grimanesa Amorós The Grade I listed theatre has
undergone a £60m renovation, with
100 The Colour Bath lighting designed by BDP.
Moment Factory
070 Apple Marina Bay Sands
118 Our Time on Earth arc speaks to Foster + Partners about
Speirs Major Singapore’s remarkable new Apple
store.

076 Retail Lighting

A range of retail lighting projects large
and small, featuring work by Nulty,
Sombra and dpa lighting consultants.

Proudly Supporting
 Feel Good Hotel, Valencia, Spain

Issa
Miss impact

Arrange big open spaces with style. A variety of sizes allows lots of creativity in compositions.
 EDITORIAL

Managing Editor
Helen Ankers
h.ankers@mondiale.co.uk

Editor

Events Diary
Matt Waring
m.waring@mondiale.co.uk

Contributing Editor
Sarah Cullen
s.cullen@mondiale.co.uk

JUNE [d]arc sessions Europe COMMERCIAL

18-20 October
LightFair Mykonos, Greece Managing Director
www.darcsessions.com Paul James
21-23 June
p.james@mondiale.co.uk
Las Vegas, USA
www.lightfair.com Biennale Interieur Head of Business Development
20-24 October Jason Pennington
Kortrijk, Belgium j.pennington@mondiale.co.uk

AUGUST www.interieur.be
Media Sales Manager
Andrew Bousfield
GILE Hong Kong International Lighting Fair a.bousfield@mondiale.co.uk
3-6 August 27-30 October
Hong Kong, China Events & Marketing Manager
Guangzhou, China
Moses Naeem
www.guangzhou-international-lighting-exhibition. www.hktdc.com
m.naeem@mondiale.co.uk
hk.messefrankfurt.com
DESIGN
LEDforum 2022 NOVEMBER
Design Manager
18-19 August
David Bell
São Paulo, Brazil LiGHT 22 d.bell@mondiale.co.uk
www.ledforum.com.br 22-23 November
London, UK Production
www.lightexpo.london Mel Robinson
m.robinson@mondiale.co.uk
SEPTEMBER
CORPORATE
Plasa JANUARY 2023
4-6 September Chairman
Damian Walsh
London, UK Light Middle East
d.walsh@mondiale.co.uk
www.plasashow.com 17-19 January
Dubai, UAE Finance Director
ArchLIGHT Summit www.lightme.net Amanda Giles
a.giles@mondiale.co.uk
15-16 September
Dallas, USA Integrated Systems Europe
Credit Control
www.archlightsummit.com 31 January - 3 February Lynette Levi
Barcelona, Spain l.levi@mondiale.co.uk
IALD Enlighten Americas www.iseurope.org
[d]arc media
29 September - 1 October
Strawberry Studios,
Palm Springs, USA Watson Square,
www.iald.org FEBRUARY 2023 Stockport
SK1 3AZ, United Kingdom
Surface Design Show T: +44 (0)161 476 8350
www.arc-magazine.com
OCTOBER 7-9 February
arc@mondiale.co.uk
London, UK
Light + Building www.surfacedesignshow.com Printed by Buxton Press.
To subscribe visit www.arc-magazine.com
2-6 October
or call +44 (0)161 476 5580
Frankfurt, Germany Euroshop
arc, ISSN 17535875, is published
www.light-building.messefrankfurt.com 26 February - 2 March bi-monthly by Mondiale Publishing,
DÜsseldorf, Germany Strawberry Studios, Watson Square,
www.euroshop-tradefair.com Stockport, Cheshire, SK1 3AZ.
Subscription records are maintained
at Strawberry Studios, Watson Square,
Stockport, Cheshire, SK1 3AZ.

*NOTE: All dates correct at time of publication. Subject to change*

022 / 023
 DIM IT LIKE SUNSET
The WARM DIM series of LED modules are now upgraded with chipsets tailored to specific
power, producing a consistent dimming curve that starts from 3100K at full brightness and
smoothly dims to 1800K at minimum brightness for all variations of WARM DIM LED modules.
A similar and matching transition of colour temperature with dimming is now achieved with any
WARM DIM LED module regardless of power from 4.5W up to 23W in various modular fixtures.

Coin Surface 50 Nest 50 PRO

4.5W / 330lm 10W / 580lm 12W / 1280lm

100% Consistent Dimming Curve

Light Output

0%
3100K Correlated Colour Temperature (CCT) 1800K

35 Nest
7.5W / 420lm

20 Classic
6.2W / 450lm
100 PRO 20 PRO 100 PLE
23W / 2200lm 8W / 580lm 23W / 2200lm

UNITED KINGDOM
AUSTRIA
SWEDEN
NETHERLANDS
Visit our website UAE

to find out more ISRAEL

SOUTH AFRICA
CHINA
PROUDLY
HONG KONG & MACAO DESIGNED

INDIA
INDONESIA UNITED
KINGDOM
MALAYSIA
SINGAPORE UNITED KINGDOM
SOUTH KOREA 1 Hedel Road, Cardiff,
AUSTRALIA Wales, UK, CF11 8DJ.

www.elr-group.com Contact us at info@elr-group.com

 eye
opener

Stalactite
Berlin, Germany

Following the success of its Dark Matter From 3 June, from Wednesdays to Sundays,
exhibition, which welcomed more than visitors are able to enjoy the luminous
100,000 visitors, WHITEvoid is opening up sculpture with cool drinks and electronic
the large-scale light sculpture, Stalactite, in music in a summery, open air experience.
a 1000sqm outdoor space as part of Dark The outdoor space, with comfortable
Matter – Sommerlights. seating, is open from 7pm until after
A monumental installation by light artist midnight, and the light installation will
Christopher Bauder, the massive structure be accompanied by music from various
appears to float weightlessly above the musicians, DJs and live acts.
audience, inviting them to enter into a www.whitevoid.com
meditative, audio-visual word.
As visitors walk beneath the installation, they
become part of the overall experience and
therefore, the installation itself. The network-
like structure consists of 360 elements in the
shape of an inverted pyramid. The nesting
arrangement of light rods creates pulsating
animations of complex shapes and patterns.
The light animations are generated by
software in real time in immediate response
to the electronic musical score. Stalactite
therefore takes guests on a nocturnal, ever-
changing journey through light, space and
sound.

024 / 025
Drawing Board

Confidential Workplace
New York, USA

With a move towards an inviting, hospitality-like

feel, a confidential workplace campus in Park
Avenue, New York, is hoping that an upgrade to its
building amenities will help to lure remote workers
from their homes and back to the office. The
concept, with lighting designed by Sammie Wu of
Lighting Workshop, is an environment that creates
a bridge from workplace to hospitality.
The upgraded amenity space is in a 20-floor
building campus at a premium Park Avenue
location, offering approximately 50,000sqft
comprised of work lounges, a bistro, café kiosk,
lunch bar, garden room, two lobbies, conference
rooms, prefunction lounge, and a wellness
suite. The sweeping, 17ft ceiling heights offer
many opportunities for suspended statement
lighting elements. Warm wood, plush seating
arrangements, a cohesive family of decorative
fixtures, earth tones throughout, and an
assortment of indoor lush landscaping all lend
itself to a hospitality environment, rather than their
office building.
As Wu has been leading the lighting team on
this project, she often draws from her initial and
formative hospitality background. She thinks of all
levels of function throughout, including operational
needs of the staff, one’s first impression entering
the space, and what offerings will entice someone
to sit and relax.
During her studies in hospitality management in
Switzerland, the one item that never left her was
a person’s sensory experience with a space. “This
can be anything from the smell of the morning
coffee at a hotel or enjoying an art piece hung
at the lobby wall. Hospitality is about turning the
intangible into something memorable, which has
influenced me to this day with my lighting design
decisions,” she said.
During her experience working in the hospitality
industry in Barcelona, Spain, Wu vividly remembers
this sensory element specific to the hotel amenity
spaces.
She recalled during her time working at a hotel:
“Every month the florist would come with a trolley
and carefully arrange the flowers reflecting each
season’s theme. It was a humble way for the guests
to experience the atmosphere of the season and
space through texture, colour and smell all at the
same time upon arrival.”
Remembering the impact of these experiences,
her lighting design approach to the Park
Avenue project has been to create a unique and
memorable vignette throughout each amenity
area, using light to visually impact how one travels
through each space, making an indelible imprint to
every visitor.
www.ltgworkshop.com

026 / 027
DRAWING BOARD

Image: Gensler & les éclaireurs Avant-Seine Workplace

Paris, France

For the reconfiguration of a 40,000sqm office

building in Paris, lighting design firm les éclaireurs
is working with architects Gensler to open the
space to the outside world, restructuring its night
vision, while enhancing and communicating its
internal functions.
By collaborating with the architects, les éclaireurs
is hopeful that the lighting will accompany the
scenography of the main spaces: the Canopy,
the Atrium with its grand staircase and meeting
alcoves, and the central usage volume on the
façade.
The lighting within the offices themselves has been
designed not to dazzle but to be more subtle,
creating the feeling of an illuminated space, without
it being clear where the light is coming from.
With a large central skylight, the space is filled with
an abundance of natural light. As such, the lighting
designers developed a “human centric” lighting
approach that will ensure that accompanying
artificial lighting is in tune with the natural light
during the day and after dark, ensuring optimal
visual comfort for building users.
www.leseclaireurs.net

028 / 029
LED pendant luminaire downlights – the specialist for a variety of
lighting requirements in large spaces. In addition to the soft unshielded
light component, the luminaires also feature individually controllable
downlights and uplights. The luminaires are DALI controllable and
optionally available in an RGB W version.
BEGA Lighting UK Ltd · Fetcham Park House · Lower Road
Fetcham · Surrey · KT22 9HD · UK · Tel. No. +44 (0) 1306 882 098
info-uk@bega.com · www.bega.com

Das gute Licht.

For larger-than-life spaces.
 Women In Lighting Awards
The winners of the second Women in Lighting Awards
have been revealed. For this year’s awards, WIL looked
to honour women in lighting outside the sphere of
lighting design.
Launched in 2021, the first edition of the Women
in Lighting (WIL) Awards looked to honour the
achievements of women during the first year of
the pandemic. For 2022, WIL decided to point the
WIL Awards in a different direction, in order to
honour some women in lighting outside the
sphere of lighting design.
“We wanted to seek out and celebrate
outstanding women in the following categories:
Light Art, Research and Education; and
Engineering. The project has always looked to
include women working in these fields, and this
year, they are the central focus of the WIL
Awards. We encouraged nominations of women
working in these lighting fields in order to share
their inspiring work with the WIL global
030 / 031
community,” said WIL organisers.
The awards closed with 131 nominators
submitting, and 114 nominees in total.
Nominations came from 28 countries around the
world, from countries as diverse as Finland and
Argentina, Costa Rica and Sudan.
The judging panel for this year’s awards was
comprised of WIL media partners, who helped us
to decide on some deserving women that we
could honour in more detail: Sarah Cullen – [d]arc
media (UK); Patrick McCuminskey – Warm White
(Germany); Randy Reid – Designing Lighting
(USA); Esther Torello – Lightecture (Spain); Mervi
Rokka – Ljuskultur (Sweden); Thiago Gaya – L+D
Magazine (Brazil); Valery Gorelova – Wavelength
(Russia); and Vertica Dvivedi – Surfaces Reporter
(India).
“The judging panel completed the near
impossible task of considering who to honour
with a Women In Lighting Award – near
impossible because the achievements and
contributions to the world of lighting from the
nominees are hard to measure against each
other,” WIL continued. “However, we are pleased
to announce the judges choice for the Women In
Lighting Awards 2022.”
“Here’s to strong women.
May we know them. May we
be them. May we raise them.”
Unknown
ART
This category allows WIL to
celebrate a female artist who
always or often works with light,
or any woman in lighting who
has created a light-based piece,
or any woman that works as a
curator of Light Art.
EDUCATION & RESEARCH
This category was dedicated to
women who are moving our
knowledge forward in light and
lighting, or someone who is a
dedicated educator in light.
Judges Choice
Jen Lewin / USA
Lewin is an interactive artist and engineer with
a studio based in New York City, who specialises
in large-scale installations in public spaces,
usually combining elements such as light,
sound and complex engineering. Her work can
be found at many festivals and exhibited in
galleries around the world.
www.jenlewinstudio.com
Liz West / UK
West is a British visual artist. Her practice
comprises site-specific artworks, sculpture, and
immersive light art installations. Her artworks
often combine colour and light, with the aim of
heightening sensory awareness and experience
for the viewer.
www.liz-west.com
Judges Choice
Professor Dr. Banu Manav / Turkey
Professor Dr. Manav is the Dean of Kadir Has
University in the Art and Design Faculty. She has
been an active member in the Turkish National
Committee on Illumination for 11 years, and
since 2020, represents Turkey in the CIE,
Division Six (Photobiology and Photochemistry).
Her research in lighting and collaborations can
be found under the categories of interior
lighting and space perception, visual comfort
and interior design.
www.khas.edu.tr
Professor Mariana Figueiro / USA
Brazilian-Cuban architect and scientist Mariana
Figueiro researches the effect of light on human
health, including alertness and performance.
Having served as the Director of the Lighting
Research Center (LRC) and Professor at
Rensselaer Polytechnic Institute (RPI), she is
now serving as Director of the Mount Sinai
Center for Light and Health Research.
www.icahn.mssm.edu
Highly Commended
Professor Lyn Godley / USA
Professor Godley is both an accomplished artist
and academic, combining teaching Industrial
Design at Jefferson University with 24 years of
creating from her own studio.
www.lyngodley.com
Aleksandra Stratimirovic / Sweden
Stratimirovic is an award-winning Swedish artist
with a broad knowledge and understanding of
light and lighting technologies. She has created
a wealth of permanent and temporary
installations for hospitals, schools, residential
areas and different urban environments.
www.strati.se
Highly Commended
Andrea Hartranft / USA
Hartranft was President of the IALD Education
Trust and continues to be on the Education
Trust Committee. She teaches Lighting
Fundamentals at Montgomery College and also
lectures internationally, while working as
Principal of Hartranft Lighting Design.
www.hartranftlighting.com
Asst. Prof. Dr. Karolina Zielinska-Dabkowska /
Poland
Zielinska-Dabkowska is an Assistant Professor
at the Faculty of Architecture, Gdansk University
of Technology, and co-founder of the GUT
LightLab. She is also actively engaged in the
Technical Committee work of organisations
such as the International Commission on
Illumination (ICE), Illuminating Engineering
Society (IES) and International Dark-Sky
Association (IDA), providing guidelines and
sharing best practice for night-time illumination
in the built and natural environment.
www.designs4people.com
Jen Lewin Professor Dr. Banu Manav Dr. Ruth Kelly Waskett

Liz West Professor Mariana Figueiro Liudmyla Pavlenko

Professor Lyn Godley Andrea Hartranft Kelly Smith

Aleksandra Stratimirovic Asst. Prof. Dr. Karolina Zielinska-Dabkowska Melody Culanag

032 / 033

ENGINEERING
This category allowed nominees
to highlight women who work in
engineering – they primarily
work with light, and their work is
necessary for the world that we
live in.
supported by
Judges Choice
Dr. Ruth Kelly Waskett / UK
Waskett is a daylight specialist within the
Lighting team at Hoare Lea and immediate Past
President of the Society of Light and Lighting.
She is both a visiting lecturer at University
College London and contributes to the daylight
element of the Lighting Education Trust (LET)
Diploma Course. She also volunteers as a
mentor for the new Silhouette Awards, and has
also been involved in the writing of a number of
lighting guides produced by the SLL, including
being principal author of the revised
Daylighting Guide (Lighting Guide 10).
www.hoarelea.com
Liudmyla Pavlenko / Ukraine
Pavlenko is a lighting design engineer with a
double Master’s degree in lighting from the
National Aviation University, Ukraine, and
Hochschule Wismar, Germany. She currently
heads the Electrical Engineering and Source of
Lighting Department in Ukraine.
JUDGES‘ COMMENTS
“Having been raised by a single mother who
was never empowered, recognised or rewarded,
it is gratifying to see women being rewarded
and recognised for their contributions.”
Randy Reid
“Women in Lighting is a fantastic platform. I
have discovered an incredible amount of
talented and important female figures that are
featured across the WIL Awards and throughout
the WIL initiative in general.”
Sarah Cullen
“The WIL Awards are not only important when
empowering and celebrating the achievements,
but also to inspire other women and girls in the
fantastic field of lighting.”
Mervi Rokka
WOMEN IN LIGHTING WIL AWARDS
Highly Commended
Kelly Smith / UK
Smith is a street lighting engineer who does a
lot of work for STEM in schools in the UK,
encouraging students, especially girls, to seek
employment in engineering. She is also an
active member of the Institution of Lighting
Professionals (ILP), and is championing the WIL
cause on their behalf, so that the women in
street lighting stories are told.
Melody Culanag / Canada
Melody Culanag has both an engineering and
interior design background. Her passion for
lighting began in Singapore and she has more
than 10 years of experience in the design and
build industry. She is now working in one of the
biggest international lighting design firms in
Canada, the Ombrages Group, as well as being
a member of the IALD and IESNA. She is also
the founder and owner of LightandMe, an
ArchViz and Design studio.
www.lightandme.ca
“All the initiatives that make visible and vale the
important role that women play at a
professional level must have our recognition.
For this reason, we are very fortunate to have
the WIL platform, an interesting project that
highlights and gives voice to the extraordinary
work that women carry out in lighting.”
Esther Torello
WIL added: “Please join us in congratulating our
highlighted winners, and all of the nominees.
The WIL project celebrates every one of you.”
www.womeninlighting.com
 As part of an ongoing mission to examine
how lighting can address societal inequities,
Edward Bartholomew has, alongside friend
Mark Loeffler, formed online platform Light
Justice. Bartholomew sits down with arc to
tell us more about Light Justice and its goals.
What is Light Justice?
Light Justice is the practice of planning, designing,
implementing, and investing in lighting for
historically neglected communities through a
process of stakeholder respect and engagement; it
is a movement, a forum, a resource, and a platform
to change the practice of lighting design to address
IN CONVERSATION lighting inequity.
EDWARD
BARTHOLOMEW How and why was it formed?
During the social justice uprising that occurred
after the brutal murder of George Floyd by the
police, I started to look again at the practice of
lighting, and how it tends to only serve the wealthy
and well-funded, but neglects poor, under-
resourced communities, especially in the Black and
Brown communities that I grew up in. During walks
with my wife during the pandemic, we discussed
how lighting could address social justice issues.
At this time, my good friend Mark Loeffler began
to mentor me as I was restarting my firm. Our
conversations evolved into a common interest to
look at lighting through the lens of environmental
justice, especially in outdoor lighting. This
developed into a well-researched talk called Light
+ Justice that explored the historical use of light as
a weapon of oppression, including current policies
deployed in New York City called “Omnipresence”,
which places temporary diesel-powered floodlights
in public housing developments to deter crime but
end up making the spaces feel like crime scenes.
Omnipresence is an egregious example of the
“weaponisation of light” on poor, mostly Black and
Brown communities that is happening today. We
presented Light + Justice locally and at LightFair
in the Fall of 2021. In addition, we have authored
articles, and I have partnered with my friend Glenn
Shrum to present an expanded version of the talk
to the lighting community throughout the country.
But this is not just an American issue; it shows
up in Britain and throughout the world where
poor and marginalised people are subjugated to
substandard lighting due to negligent and unjust
design.
What are your core goals?
Our core goals are to show light’s social and
environmental justice impact. And how lighting
has been weaponised in poor, under-resourced
communities. Also, to show that engaging these
communities in the design process as “citizen
designers” can enable good lighting design and
beneficial darkness that lifts up communities.
What are you doing to reach these goals?
I am sharing the principles of Light Justice at
034 / 035
conferences and with design professionals, and I
practice these principles in the projects I pursue
and by using the ideals of “design justice” as I work
with marginal, under-resourced communities.
I am incredibly excited about projects where
I get to collaborate with these communities
and learn about the impact of lighting on their
neighbourhood.
Light Justice talks about the “increasing
imbalance” in public realm lighting. How and
why do you think it exists?
In my research, I have found several factors that
drive this imbalance, but most of them are based
on systemic racism. This impacts why these
communities are located near unhealthy industrial
zones, and why they are deprived of the resources
to improve their environment. Finally, the use of
over lighting to reduce crime based on erroneous
studies has only exacerbated these conditions.
How do you hope to redress this imbalance?
First, identify vulnerable communities where
lighting has been poorly planned and has caused
environmental injustice. Second, engage these
communities to acquire the resources and educate
them regarding lighting quality to support the
lighting redesign of their communities. Lastly, to
be a resource for these communities to navigate
the city and utilities to remedy the lighting in
these neighbourhoods. Light Justice is a resource
for all designers to have an impact on neglected
communities, to enable us to use our talents
and gifts to have a positive impact on neglected
communities with light.
What sort of response have you had so far?
So far, it has been positive. We are gaining
supporters through LightJustice.org and
developing tool kits and best practices so that
designers working can use lighting to transform
their communities. Currently, my firm is working
with a local community to create a neighbourhood
lighting design plan that we hope will be an
example of what cooperative lighting design can
achieve.
Where do you hope to take it going forward?
We want to extend the frame of environmental
justice to interior spaces and even address the
discrepancy in access to daylight and views for
marginal under-resourced communities. We all
know that light has power, but we should share this
power equally, to help everyone experience the
benefits of good lighting and beneficial darkness.
www.lightjustice.org
YORI IP66
Quality light for the outdoors.
Yori IP66 is the brand new
system of lighting products
for your landscape projects. reggiani.net
Snapshot
Studio All
Melbourne-based Studio All has, since 2019,
built a strong, diverse portfolio of projects across
Australia, ranging from retail and commercial to
residential, industrial and institutional projects.
Founder Liam Petrie-Allbutt talks us through
some highlights.
JB Hi-Fi
1
Nationwide, Australia
For the retail lighting design of JB Hi-Fi, one
of Australia’s leading retail brands, Studio All
was engaged to work with the design team to
re-imagine the in-store experience and provide
a turn-key solution as the new design strategy
is rolled out through stores across Australia.
Taking a transformational approach to
retail lighting, Studio All’s design strategy
supports JB Hi-Fi’s values of innovation,
passion and authenticity by improving
product visibility and in-store navigation.
The design intent delivers a unique and
visually engaging aesthetic to highlight
products, increase average dwell time and
improve the visual experience in-store. By
combining ambient light levels with high CRI
accent lighting from the use of spotlights
throughout the store, the design creates a
visually appealing experience while bringing
out the vibrant colour of each product.
Studio All has introduced a wayfinding
strategy as part of the overall design concept,
using light to facilitate store navigation.
“Pods” are created throughout the store
using subtle overhead lighting, assigning
colours for certain product categories to
provide a prominent, featured space for
each within the store. The checkout area
becomes a focal point, allowing customers
to view it from any section of the store with
higher light levels to attract attention.
Demonstrating the impact of lighting design,
the upgraded JB Hi-Fi stores improve the
customer experience and encourage customers
to spend more time in-store while showcasing
products in their best possible light.
Point Lonsdale Surf Life Saving Club
2 Point Lonsdale, Australia
The Point Lonsdale Surf Life Saving Club
has proudly served the Point Lonsdale
and Queenscliff communities since 1947.
In collaboration with JCB Architects and
Lyons Construction, Studio All’s designers
were thrilled to work on the redesign
for this treasured community space.
Elegant track spotlights echo the strong,
036 / 037
clean lines of the building; allowing ambient
light to flood the foyer of the new club.
Nestled amongst tea-trees, the club is a
paragon of clean and sustainable coastal
design. The lighting scheme highlights the
natural timber used throughout the space
and maintains the warmth and heart of
the building long after night has fallen.
The building features state-of-the-art
amenities for club and community and it
is the community that remained central
to the design. Sustainable LED lighting
provides connection and flow between the
building and the lawn by way of gentle
illumination of the terraced deck. The public
lawn enveloped by the club is flooded with
welcome and light that radiates from the
club and cascades gently down the steps.
The lighting pays homage to the warm
and natural timber lines of JCB’s drawings
and honours the central and pivotal place
the club holds for the local community.
Cobargo House
3 Cobargo, Australia
RFS Firefighter Dave and his wife Barb were
left homeless after their house was razed
by a fire on New Year’s Day 2020. Humble
and industrious people, Dave and Barb
have spent their life serving others.
The Local Project, Breathe Architecture, Davis
Construction and Studio All partnered pro-bono
with a host of suppliers to design and produce
Cobargo House for Dave and Barb during 2021.
The house was designed not only to replace
what was lost but with a vision to integrate
sensitively and sustainably with the landscape.
Australian made fittings, donated by generous
suppliers, were sourced for the lighting design
to create a sustainable and robust family home.
Seamlessly incorporated within the landscape,
Cobargo House is manifestly mindful of its
environment. The house features breath-
taking outlooks by way of multiple quiet nooks;
subtly emphasised by warm feature lighting.
The unobtrusive design scheme allows the
calm natural materials of the home to sing,
providing mellow ambience for comfortable
living. The architectural elements of the
home are celebrated and complemented
using lighting products that are sustainable
and suitable for the carbon-neutral build.
Studio All was delighted to produce a
sustainable and warm lighting scheme
for the Cobargo House, inspired by the
unique landscape and the humble and
generous people who live there.
South Melbourne Market
4 Melbourne, Australia
The iconic South Melbourne market is home to
SO:ME Space, a unique retail concept dedicated
to supporting young and innovative designers
and creatives. The design scheme for this space
had to be as flexible as the many and varied
traders that inhabit and utilise the space.
The design features state-of-the-art
materials sourced from Lightning Thief
and includes bespoke track-mounted
spotlights that maximise utility and
flexibility. The long and sleek lines
maintain elegance in a contemporary
industrial and solution-driven design.
Wall washers and linears provide structure and
add functionality to the space, illuminating the
existing industrial components of the market.
The lighting scheme for the SO:ME space
employs sustainable technology that allows for
variegation and adaptability within the space.
The scheme remains faithful to its industrial
past while maximising the contemporary and
multi-faceted ethos of its current caretaker.
The resulting multi-purpose design
scheme can be adapted to support
retail, fashion, music, and theatre.
 Studio All creates technically astute, architectural
lighting experiences designed to enhance people’s
lives. As an independent lighting design and
solutions practice based in Melbourne, it designs,
engineers and certifies projects across Australia and
abroad. Its installations range all scales and many
sectors, including institutional, retail, commercial,
residential, and industrial.
Whether creating a productive, people-friendly
office environment, a thriving community space, or
an art installation, Studio All harnesses the latest
technology and top industry partners to create
tailored solutions for innovative organisations.
www.studioall.com.au

1 2

Image: Jackie Chan Image: Tom Hunt-Smith

3 4

Image: Pablo Veiga

100 / 100
 Wellbeing becoming
work’s partner – Part Two
Continuing the conversation about the relationship
between work and wellbeing, Kaye Preston is this
time joined by Designers Mind contributor
Kael Gillam to talk about the importance of rest.
In the last issue I discussed the importance of
considering wellbeing as work’s partner and
how prioritising our health can lead to improved
performance, creativity, productivity, better focus
DESIGNERS MIND and ability to make decisions. This month I want to
KAYE PRESTON & follow up with a “Part Two” on the subject, focusing
KAEL GILLAM specifically on the importance of rest. I’ve also
asked Kael Gillam, Principal Lighting Designer at
Hoare Lea and Designers Mind contributor to join
me in exploring the topic further.
Before we dive in, I felt that this quote from Alex
Pang, author and former tech consultant – “Rest is
not work’s opposite, rest is work’s partner” – was
worth revisiting, as it plants a seed for changing
our mindsets. It sparked the idea for these two
columns while highlighting the importance of
taking breaks throughout the day.
So, what does rest truly mean for our working day?
Taking rest is as essential an act as working
because one cannot exist without the other. When
we choose to rest, it means that we’ve identified a
need to change focus from the world outside us to
the world within. Resting is, in a way, about setting
boundaries with yourself; it’s knowing how long you
can be active and productive without wearing away
your mental and physical energies, and acting on
that self-awareness.
Knowing your limits will be a process that’s very
personal, but there are some more universal signs
of fatigue that might accompany them. This can
take the form of either physical – experiencing
eye strain, headaches, or musculoskeletal pain –
or mental signals – lack of creativity, feelings of
isolation, and inability to make decisions.
Viewing rest as a positive action can be challenging
in the face of deadlines or personal hardship. It’s
easy to feel that rest is ‘cheating’ or that it’s not
‘deserved’ until a goal is met. But if we ignore
our body’s signals to rest, then the feelings of
overwhelm, tension, and fatigue begin to mount
until they are unmanageable and begin to edge
towards burnout. And to be clear, rest does not
mean ‘sleep’, though we would certainly encourage
regular and quality sleep as a boon to both mental
038 / 039
and physical health.
Rest can mean writing in a journal, going for a
coffee, visiting friends, or taking a holiday. Taking
time away from your computer does not mean
you’re not still working, it simply means you’ve
displaced yourself from your work station. Good
ideas and problem solving need not happen
in front of a screen; they can happen on a walk
through a garden or a trip to the store. We can also
plan rest into our day much the same way that we
plan meetings or appointments. Blocking out time
in our day for ourselves is a reminder that there
is no compartmentalising ‘work’ you and ‘life’ you:
wellbeing doesn’t get put on hold when you’re in
working hours.
Our process as creatives is just as fluid and
changing as the energy we bring with us, and we
should be open and honest about how much and
what kind of rest we need on a daily basis. Some
days we feel more focused and ready to work on
strenuous tasks, some days we are only able to
give fleeting moments of attention. Learning your
rhythms and signals will allow you to know your
boundaries and act on your intuition when you
need a break.
And, if you work in an office, you might just be
a positive influence on others when you make
these choices. If your rest looks like finding the
company of others, you can take walks or get
coffee with colleagues. If rest looks like finding time
on your own, you can look for a quiet spot around
your workplace to sit and collect your thoughts.
No matter what form your rest takes, it should
encourage and invigorate you to continue through
your day.
What does the research say?
Microsoft’s Human Factors Lab conducted a study
(Mar 2021) investigating the impact of taking
breaks on our stress levels. The study focused
specifically on taking breaks between meetings
and the effect having back to back meetings can
have on our levels of stress, fatigue, focus and
engagement.
“Our process as creatives is
just as fluid and changing
as the energy we bring
with us, and we should be
open and honest about
what rest we need on a
daily basis.”

“Our research shows breaks are important, not

just to make us less exhausted by the end of the
day, but to actually improve our ability to focus
and engage while in those meetings,” says Michael
Bohan, senior director of Microsoft’s Human
Factors Engineering group.
The research was clear, rest between meetings
allowed the brain to reset, increased the ability
to focus and decreased levels of stress overall.
Now what if we applied this research to all tasks
and changed our mindsets about the importance
of taking breaks throughout the day? It may
feel counterproductive to take time away from
our desks and work but the research shows the
opposite to be true.

Here are five strategies to build more rest into your

day:
1. Take advantage of natural pauses between tasks.
Instead of diving immediately into the next thing,
take a few moments for yourself to reset.
2. Plan wellbeing time into your day. Things that
aren’t planned often don’t get done. Treat your
wellbeing practices like you would a meeting and
schedule in the time.
3. Set reminders on your phone. Use tech to your
advantage to help create new habits around taking
breaks and building moments of rest into your day.
4. Be intentional about meetings. Consider what
you want to achieve and also the length of time
actually required.
5. Choose activities that calm the mind. Meditation,
breathing exercises or a walk outside in nature can
all help reduce stress levels.
Let’s change our mindsets around rest and start
seeing it as a productive part of our day. A partner
of our work, an ally to our creativity and focus, a
supporter of our physical and mental health, and
key to our overall wellbeing.
www.designers-mind.com

Image: Mika Korhonen - Unsplash

 eye
opener

Torre di Barì
Sardinia, Italy

The Torre di Barì Sardo stands on a illuminated with miniaturised projectors with
small promontory overlooking the sea a very delicate and punctual light.
on the Italian island of Sardinia. With its To ensure accessibility to the small
construction dating back to 1572, the tower promontory, even during the night, a small
was built to defend the island from looting staircase of granite paving stones has been
by Saracen pirates. illuminated with bollard lights with a CCT
Built with local granite and basalt rocks, of 2700K, finished in a rust colour to fit in
the tower stands at a height of around with the surrounding landscape. For each
13-metres, tapering from 11-metres in projector used for the general illumination
diameter at the base to 8-metres at the of the tower, shells were made in raw
terrace. Inside there is a small, circular room basalt, worked only in the front part for the
of around 14sqm. Designed to be a lookout insertion of the lighting fixture. Each shell
on construction, the tower offers views of weighs more than 500kg, and is designed to
around 15km, from Capo Bella Vista to Capo camouflage the fixtures in the rocky context,
Sferracavallo. making them difficult to spot during the day.
The historic monument has been given a The whole system can be managed via
new lighting scheme, courtesy of Cagliari- Bluetooth, both in terms of power and
based design studio essequadro | p. The colour. Thanks to the perfect control of the
lighting design project focused on the light beams, even standing under the tower,
creation of a soft, elegant light, capable visitors can enjoy a magnificent view of the
of enveloping the entire monument in a starry sky above.
homogenous way, leaving only the staircase www.essequadrop.com
- recently built following a restoration - in
dim light.
The lighting engineering approach also
involves concentrating the luminous flux
within the silhouette of the tower in a move
to keep light pollution to a minimum. In
addition to the volume of the tower, the
openings in the window and entranceway
were also highlighted.
Utilising fixtures from iGuzzini, the main
elements used are custom RGBW with white
at 3000K. This solution was chosen to have
the correct CCT to enhance the natural
colour of the stonework.
Alongside this, the two cannons on the
sides of the tower were also theatrically

040 / 041
Image: Studio Vetroblu
 talking
with…

“Students have to learn

to see light, they have to
recognise the importance of
light as a mediator between
people and space.”
Professor Dr. Thomas Römhild

After more than 20 years as head of Hochschule

Wismar’s Architectural Lighting Master’s
Programme, Professor Thomas Römhild is
retiring this summer. Here, arc speaks with
Römhild about the formation, growth and
success of the course.

042 / 043
Image: Bipin Rao
 S
TALKING WITH... PROF. THOMAS RÖMHILD
ince 2001, the German city of Wismar has become
synonymous with lighting design, thanks to the
world-renowned Architectural Lighting Master’s
programme at Hochschule Wismar University of
Applied Sciences: Technology, Business and Design.
Established by Professor Dr. Thomas Römhild,
the course was the first Master’s degree on the
subject of architecture and light in Germany,
and has, since its formation, become one of the
leading qualifications within the lighting design
community, serving as a marker of quality for its
more than 600 alumni.
Following the course’s 20th anniversary last year,
Prof. Dr. Römhild is retiring from his role as course
leader this summer and as such, arc sat down
with him to discuss the formation, and continued
success of the course over the years.
Prior to establishing the Architectural Lighting
course, Römhild was a professor in the Department
of Architecture at Hochschule Wismar, and with
the growing recognition of lighting design as an
independent profession, he spotted an opportunity
for an educational programme on the subject.
He recalled: “In the previous years, independent
designers in Europe began to organise and
describe the job profile of lighting design, and it
was clear that this also included an opportunity for
education in lighting design. We understood that
only a university level Master’s programme would
fulfil the importance and complexity of the subject.
Prof. Dr. Römhild, outside the Department of
Architecture building at Hochschule Wismar.
Image: Bipin Rao
044 / 045
“Wismar is far away from the centre of the lighting
industry in Germany, but the university still offered
ideal conditions for the creation of such a course;
there was a newly founded architecture course
and an education for interior architects and
product designers based on the traditions of the
old design school in Heiligendamm. There were
also departments for mechanical and electrical
engineering, which also reoriented themselves – all
courses that can make relevant contributions to a
new range of courses for lighting designers.
“I recognised this potential and brought the
necessary players together. With external advice
from Prof. Jan Ejhed and Prof. Dr. Heinrich Kramer,
considered one of the founding fathers of lighting
design in Germany, a study programme was
developed that is essentially unchanged to this
day.”
The study programme in Wismar was the first
Master’s degree in light application that was
founded in an architecture department, a move
that Römhild feels “manifested a new perspective
on lighting”.
He continued: “The reference to architecture, and
thus the view of the people who use the space,
expands the understanding of spatial design with
light in relation to social and cultural aspects.
“This holistic approach is certainly one reason why
this course has established itself as pioneering and
has proven to be very enduring and successful.
Another advantage of the course being taught in
English is that it attracts students from across the
globe, which has created an international network
of graduates.”
Alongside the interdisciplinary approach, the
fundamentals of the course are rooted in the
methods of architecture training, namely through
project-oriented teaching. Over the course of
the Architectural Lighting programme, students
are given several lighting design tasks that cover
all facets of a real project. Necessary specialist
knowledge is then developed through various
tasks, with students learning how to develop, apply
and deepen their knowledge. “It is important that
the methodological skills for the lighting specific
design process are trained,” said Römhild. “In
addition, the various forms of influencing lighting
are dealt with in a variety of practical exercises –
“Light in the Box” and “Light Material” to name just
two examples offered by colleagues Prof. Blieske
and Prof. Rohde, are seminars that deal with the
interaction of light, space, and material. In these
practical exercises, students examine the design
possibilities with light to experience the influence
on visual ambience, the intuitive behaviour, and
the function.
“The workshops in which the students design and
implement atmospheric light installations for or
at events are of particular importance. In this way
they come into direct contact with their audience,
receive feedback and learn to critically evaluate
their creative skills. For the same reason, we try
to choose the project tasks in such a way that real
stakeholders evaluate the students’ results.”
Within these practical, architecture-inspired
elements, the lighting design programme is based
Lighting design: Jan Dinnebier, Photo: Stefan Wolf Lucks

Custom made spotlight group seventies 70’s

The auditorium of the Humboldt University Berlin is illuminated with a custom construction based on mawa’s seventies
lighting series. Similar to a bouquet, a bunch of six spotlights sits within each of the 12 ceiling rosettes. The quality of their
fit was carefully coordinated with the plasterer. Light color and quality create a comfortable atmosphere, highlight the
time-honored surroundings and support audience concentration.
Designer seventies 70’s: Jan Blieske, Jan Dinnebier

mawa‒design.de Made in Brandenburg

“When it comes on the fact that projects with different thematic
focuses are processed into three modules, with the
to lighting, basic knowledge and problem awareness conveyed
sufficiency can to students through their work on various
assignments – it is a formula that Römhild believes
be summed up has been “tried and tested” over the years.
in simple words: “Building on the basics that are taught in the
compulsory subjects of lighting design and
we use as little daylight, as well as lighting science and, in the
light as possible, second semester, light and technology as well
as light and sustainability, this method-oriented
but we also need training enables students to acquire the current
as much light as knowledge required for the respective projects
and to apply it,” he added. “In addition, the Light
necessary.” and Economics module, and an excursion to the
lighting manufacturers, are compulsory.
“What is special about the course are the
numerous compulsory electives, which enable the
students to set their own priorities. For example,
one of the electives I offer is called “Light and
Symbols”, which deals with the different aspects
of light in the context of culture, history, and art in
relation to natural phenomena. Another elective
offers an opportunity to deepen the knowledge
base in technical and conceptual terms for
development of new interactive, dynamic indoor
and outdoor lighting scenarios.”
With such a tried and tested programme in
place, Römhild explained that while the course
has grown in prominence over the years, its
fundamental, interdisciplinary offering has
remained relatively consistent.
“At the beginning, we set up the course across
faculties together with colleagues from mechanical
engineering and electrical engineering. Within
the faculty, colleagues from architecture, product
design and interior design were also involved. Over
time this collaboration has diminished, mainly due
to downsizing and organisational changes, but the
interdisciplinary approach has still remained.
“Organisational changes and the involvement of
individuals from much broader or more specific
backgrounds have added unique value to the
content and the character of teaching. However,
this does not mean a fundamental change, but
rather the advancement of content. The diversity
of projects also means that no two semesters are
the same, and that new tasks are constantly being
introduced into the course.”
That being said, the technological advances within
the lighting industry have meant that certain
elements of the programme have adapted over
the years, as Römhild elaborated: “Our teaching
method comprises of a situation-related, dynamic
conceptual approach towards design projects.
But initially the approach was mainly related to
static architectural and mono-functional aspects.
Over the years, a more dynamic view on the tasks
is possible and dynamic solutions made feasible,
at the same time employed to more user-centred
lighting. This is accompanied by research projects
and teaching subject areas of controls and daylight
as a natural model for constantly changing
dynamic lighting.
“At the moment, three full-time professors teach
and research on the course: Prof. Michael Rohde,
046 / 047
with a focus on Light-Space Communication; Prof.
Jan Blieske on an endowed professorship, with a
focus on Light Applications in Architecture, half
of which is also used for research; and myself,
focusing on Design, Building, Climate and Lighting
Planning.”
One of the driving forces behind the adaptation
of the course, Römhild explained, was the
introduction of a part-time “blended learning”
course in lighting design 10 years ago. The course,
offered by Römhild together with his colleague
Prof. Dr. Marcus Hackel is a combination of
face-to-face and online classes and fuses topics
surrounding architectural lighting design and
design management to span the spectrum from
architectural lighting through planning practice to
the professional management of lighting projects.
“In development of the study programme, with
contributions by Prof. Dr. Harald Hofmann, I also
invited many well-known colleagues to be part
of the programme, such as Roger Narboni, Paul
Traynor, Nathan Thompson, and colleagues from
KMUTT in Bangkok – Prof. Dr. Chanyaporn Bstieler
and Prof. Dr. Acharawan Chutarat,” Römhild
continued.
“This introduced new content, which in turn
influenced the on-campus course as well.”
Through it all though, Römhild said that there is
an overarching philosophy within the Architectural
Lighting programme at Wismar, that he has sought
to instil within his students over the past 20 years.
“Lighting design means shaping light, or shaping
space with light,” he said.
“Lighting design can be described as a creative
process that aims to achieve functional,
atmospheric, and emotionally touching lighting
in a specific physical environment, according to
the situation defined by the task, the expected
behaviour, and the social position of the user, taking
into account the demands of human physiology
and psychology, as well as the environment.
“The aim of the training is to sensitise the students
to the complexity of the task. I like to say that the
students have to learn to see light, they have to
recognise the importance of light as a mediator
between people and space.
“The interaction of people, light and space with the
corresponding interfaces to lighting technology
is the core of the education. Lighting designers
trained at Hochschule Wismar not only have the
ability to creatively design lighting, but also have
knowledge of the relevant areas of architecture and
interior design, as well as electrical, photometric,
and building climate control.”
With this in mind, the teachers offer various tasks
to integrate into the various modules, with practical
exercises – where students develop a concept for
an existing architectural structure and experiment
with in-house luminaires – a very important part of
the course.
The faculty also includes a light laboratory, led by
Bipin Rao, which offers a large experimental space
for students. The space contains an artificial sky
and an artificial sun, as well as movable ceilings
and variable walls.
“Bipin brings his expertise to the hands-on
 TALKING WITH... THOMAS RÖMHILD
Sabine De Schutter Kerem Asfuroglu
Studio De Schutter Dark Source

“Prof. Dr. Römhild has been my mentor for many years. I first met him “By being one of the founding members of this community, Prof. Römhild
during my studies at Hochschule Wismar, where he was my professor is responsible for inducting generations to lighting design who now radiate
and later thesis advisor. His deep understanding of light and atmosphere his passion and knowledge across the globe. He has always been one of the
became a constant source of inspiration. While writing my thesis, his critical supporters of why philosophy and culture of lighting should remain
mentorship truly elevated my research and allowed me to win an award essential to its design. His treasured contributions to the profession and the
as the Young Lighting Designer of the Year in 2012. I am sincerely grateful vision of many will never be forgotten.”
to him for this and believe that this was largely because of his input and
guidance. In the years after graduating from Wismar he has continued
to be my mentor and friend. I always look forward to meeting him on
occasions like the workshops for Kronach in Lights. While talking about
light at one of these events, his sometimes small observations are deeply
insightful and his critical eye helps me to reflect and improve my approach.
Prof. Römhild’s style of teaching fosters creative and individual thinking.
Through his words, he invites one to observe and gain a true understanding
of light. Thank you Prof. Römhild for sharing your philosophy!”

Vladan Paunovic
Henning Larsen

“Prof. Dr. Römhild’s vision for lighting design education on the international
level gave me the opportunity to obtain my Master’s in architectural lighting
and meet cool people from around world. Many of them have become
lifetime friends. Always calm, easily approachable, and good-natured, Prof.
Römhild has been there to foster ideas and initiatives through all these
years. On the personal level, I will always be grateful for the opportunity I
got at IGEL, the office that Prof. Römhild co-owned. That job kick-started my
lighting design career.”

Image: Martin Flugelman

 workshops and gives classes that help students
with simulation programmes and lighting control,”
Römhild added.
Dr. Amardeep M. Dugar While the course has adapted with the times over
Lighting Research & Design
the past 20 years, modifying certain modules and
“Prof. Dr. Römhild has always been a person who cares for each individual student focuses in line with technological advances and
by patiently creating an environment with a growth mindset where we weren’t
only allowed to succeed but also to fail. I was able to realise my long-time dream
attitudes towards architectural lighting, Römhild
of pursuing a PhD primarily because of his constant encouragement and correct explained how the faculty has, alongside other
guidance at the right time.”
higher education facilities around the world, kept
abreast of industry developments to ensure that its
offering is always up-to-date.
“Through various research projects in the field of
daylight, lighting of public spaces, light and health
or light in the preservation of monuments, we have
worked with researchers from other universities to
deepen relevant topics.
Franziska Holmsted “We have strengthened the resulting network
Light Bureau through symposia such as the regular Light
“I had the pleasure of having Prof. Dr. Römhild as a teacher during my Master’s Symposium in cooperation with Aalborg University
course from 2005 - 2007. Beside his pleasant and open-minded nature, I remember Copenhagen and KTH in Stockholm, the Dynamic
him as a highly competent, engaged, and passionate person with a true interest in
lighting. I’m very grateful that he was one of the driving forces behind establishing Light conference and Licht Campus 2019, which
the Lighting Design Master’s course in Wismar, my hometown, with a balanced and was organised in cooperation with several
comprehensive programme that combined lighting design and technique. I wish him
all the best for his future.” universities, and a new row of conferences named
“Light and Heritage”. All colleagues involved in
both courses are practicing architectural lighting
designers also.”
After more than 20 years as the head of the
Architectural Lighting Master’s programme,
Römhild is set to retire this summer, and while
he has largely withdrawn from the organisational
work in the lead up to this, he said that he still
Thomas Oram works with students “with undiminished intensity”,
Gillard Group
particularly now that students are back on campus
“It has been my great pleasure and privilege to have had Prof. Dr. Römhild as a in the wake of the Covid-19 pandemic.
mentor during my time studying Architectural Lighting Design at Hochschule Wismar.
His passion for lighting design and willingness to share what he has learnt over Despite his impending retirement though, he is
his academic and professional career has been truly inspiring. While he has a lot showing no signs of slowing down: “Together with
to say about lighting, he is also a very keen listener and always tries to make time
for his students. As a current student, I feel very fortunate to have benefitted from my colleague Prof. Dr. Marcus Hackel, I hope to
his tutelage directly and know that future students will also benefit from the great be able to continue managing and teaching in
programme he has helped establish over the past 20 years. I wish him all the best for
his retirement from the on-campus programme.” the blended learning programme for a few more
years,” he said.
“I was also elected Chairman of the LiTG,
Germany’s lighting society. The now 110-year-
old association of people who are professionally
involved with lighting is an incredibly exciting
association in which various aspects of light are
dealt with, be it in research and the communication
of research results, further education, as well as in
Saurabh Sachdev the practical application of how lighting knowledge
Atkins London
is offered by the members of this community.”
“Very seldom one comes across individuals that have such a profound influence on As he begins to look to the future, Römhild
one’s life - Prof. Dr. Römhild has had such an influence on not just my professional
but personal life as well. I owe everything I am to Prof. Römhild. Sir, you are my true doesn’t know for sure what will come next within
mentor. All the very best for the future.” the lighting industry, however with the extensive
experience he has gained since starting his
doctorate on the symbolism of artificial lighting 40
years ago, he can offer some predictions: “My work
at the university and in the LiTG gives me a good
insight into future developments, but I don’t have a
crystal ball,” he said. “As with everywhere else, the
discussions are currently very much in the direction
of sustainability. But what does sustainability mean
Pizzie Holmsted for lighting and the lighting industry? For industry,
the further development of production methods
“In Stockholm, I heard that Hochschule Wismar, and Prof. Dr. Römhild, were providing
opportunities for exchange students, and found the opportunity to become an seems to be moving in the direction of product
exchange student myself, going to Wismar. During this time, I found Prof. Röhmhild flexibility with resource-saving use of materials. For
to be the most inspiring, competent professor and a skilled teacher/tutor, and feel in
debt for the solid counselling and support during the work of my final thesis.” the user, the focus is on the possibility of individual
use of light with low energy consumption and

048 / 049

undesirable side effects such as light pollution.
“We held a conference last year to celebrate 20
years of Lighting Design at Wismar, and one of the
results of lectures and discussions at the event was
the demand for sufficiency of lighting – i.e., only
providing the light that is needed. In the research
project ‘Dynamic Lighting of Public Spaces’, we
examined how the design process would have
to look in order to really be able to offer lighting
that meets people’s needs. It has become clear
that static lighting systems will become more and
more questionable in the future and that a lighting
system must enable a variety of scenarios. That
brings us back to the requirements for industry.
In addition to the versatile lights, control systems
and interfaces must also be offered that enable
customised lighting situations.
“For the lighting design, especially for a dynamic
solution, similar to software design, it applies that
an individual, interdisciplinary task is a prerequisite
for successful planning. The holistic planning
approach makes it possible to develop lighting that
is understood as a prerequisite for a differentiated,
atmospherically dense, multifunctional, resource
and environmentally friendly urban space in
TALKING WITH... THOMAS RÖMHILD
the morning, evening and night, and not as a
necessary addition to be planned purely in terms of
lighting technology.”
With this in mind, Römhild shared the key piece of
advice that he has given to students over the years:
“One of the results of the 20 Years Lighting Design
conference was the demand to get by with less
light in public spaces. When it comes to lighting,
sufficiency can be summed up in simple words: We
use as little light as possible, but we also need as
much light as necessary. Only a precise analysis
of the task can lead to the determination of the
required quality, quality in the holistic, sustainable
sense. This can then result in an individually
optimised solution that meets the requirements of
the user.
“It takes time and commitment don’t let yourself be
put under pressure, do your job properly!”
With more than 600 graduates from Hochschule
Wismar’s Architectural Lighting programme over
the last 20 years, it’s safe to say that, on the eve of
his retirement, Professor Dr. Thomas Römhild has
been doing his job properly for some time.
www.hs-wismar.de
 eye
opener

Image: iart

050 / 051
Novartis Pavillon
Basel, Switzerland
Designed by AMDL Circle and Michele De
Lucchi, the Novartis Pavillon has opened in
Basel, Switzerland. Located on the Novartis
Campus, the new exhibition, meeting and
event centre is the first publicly accessible
building on site that aims to promote a
dialogue about life sciences and become a
resource that showcases the past, present
and future of healthcare.
The Milan-based architecture practice was
appointed to design the new structure
following an international design
competition in 2017 – the building becomes
the latest on site to be designed by high-
profile architects such as David Chipperfield,
Tadao Ando and Frank Gehry.
Intended to be a place of learning,
knowledge and exchange for the general
public, bringing the world of science and
medicine closer to the community, the
Novartis Pavillon will house Wonders
of Medicine, a permanent multimedia
exhibition designed by Atelier Brückner.
The new building also features a distinctive,
zero-energy media façade that plays a
symbolic role in the architecture, AMDL
Circle carried out a series of parametric
design studies to define the geometry
and graphic image of the façade which
was further designed and engineered in
collaboration with iart. The façade uses a
new generation of organic photovoltaic and
a grid of LED lights to screen the works of
three international artists: Daniel Canogar,
Esther Hunziker and Semiconductor. Curated
by HEK (House of Electronic Arts), the
selected artists collaborated with scientists
to develop light installations inspired by the
shapes and colours of cells and molecules,
as well as the themes of sustainability and
the convergence of art and science.
Featuring a custom-made, double-sided
RGBW LED system developed by iart, one
LED faces outwards, the other towards
the metal shell behind the façade, where
the light reflects and shimmers back out
through semi-transparent solar modules. In
combination with the front LED, this creates
two levels of light.
Valentin Spiess, Chairman and Founder of
iart, said: “Based on the idea of a network
of cells, the façade spans the building as
a semi-transparent membrane. Organic
photovoltaics combined with LEDs create a
symbiosis of material and light, resulting in
a multi-layered appearance. The required
energy is produced by the membrane itself,
thus realising our vision of a zero-energy
media façade.”
www.amdlcircle.com
Theatre Royal Drury Lane
London, UK

One of the oldest theatres

in London’s West End,
the Grade I listed Theatre
Royal Drury Lane has
recently undergone a
£60m renovation. BDP
delivered the new lighting,
merging heritage and
modern elements in one
harmonious scheme

052 / 053
PROJECT
PROJECT THEATRE ROYAL DRURY LANE
he Grade I listed Theatre Royal Drury
T Lane has been standing in London’s West
End, in some form, since 1663. One of
the oldest theatres still in use in the city, the site
has been rebuilt three times across its history,
most recently in 1812 by Benjamin Dean Wyatt,
although his auditorium was lost in 1922 in that
refurbishment.
Now owned by renowned composer Andrew
Lloyd Webber, the theatre has been through a full
restoration over the last few years, reopening to
the public in July 2021.
As part of the extensive work, BDP revitalised both
the exterior and interior lighting, bringing a new
light to the space while carefully honouring the
original 19th century lighting features.
“Our approach was to consider how we could
create contemporary lighting effects that clearly
drew inspiration from the past,” said Jono Redden,
Senior Lighting Designer at BDP.
“On day one, what was apparent was that the client
was looking to provide a modern experience within
a traditional theatre. The lighting needed to reveal
the architecture, provide drama and atmosphere
without distracting from the historical relevance of
the building.”
054 / 055
With this in mind, BDP developed a concept
that shone a spotlight on the heritage lighting
elements, which was then highlighted and
accentuated with subtle, modern additions.
Colin Ball, Lighting Director at BDP, added: “The
concept fuses a combination of stage technologies
and the latest low energy LED lamps with the 18th
century process of glass cutting and low-level
integrated candelabra to create a warm ambience
in keeping with the historic interiors and Wyatt’s
original drawings.
“Theatre Royal Drury Lane has always been at the
forefront of lighting technology, whether whale
oil, gas or electricity – and this scheme is no
exception. We merged lighting methods of the
19th and 21st centuries; dimming technologies
used previously on stage and in the auditoria have
been adopted throughout the whole building to
maximise flexibility and balance the same level of
sensitivity and ambience across all areas of the
visitor experience.”
Throughout the design process, BDP worked
very closely with architect Haworth Tompkins,
undergoing extensive research, even including
determining how each paint finish looks in daylight
and under artificial light. Drawings, financial
records and publications from the long history of
the theatre were studied to determine the focus
of the lighting in each space, whether low level
standard, wall sconce or chandelier.
Ball continued: “Each individual space looks to
the original design of 1812 to determine the
focus of the lighting. Using this as our starting
point, we employed a series of hidden fixtures to
reduce contrast, wash ceilings, spotlight artworks
or integrated details to fixed furniture, steps, or
handrails. This collection of hidden details suggests
that the light emanates from the historic light
fixtures.
“Sections by Benjamin Wyatt unearthed from the
national archives revealed his desire for low level
candle lanterns integrated within the handrails.
Although technically very difficult to achieve with
modern systems, cable was threaded through
original stone and handrails to remain faithful to
this intent.”
Another key example of modern technologies
used to honour the historical significance of the
project came with the recreation of some of Wyatt’s
original lighting fixtures; a lantern from one of his
surviving stately homes was laser scanned and
a virtual model was created and adapted to the
theatre proportions, with 3D printed new moulds
produced to cast the iron posts using traditional
methods appropriate to 1812. One of the last
remaining blacksmiths in the country then created
the lanterns using the same original technique
dating from the theatre’s inception.
“The new torchieres were painstakingly detailed
and fixed directly onto the original balustrades with
minimal alterations,” Ball explained. “A carefully
calculated internal void allowed all cabling to
route internally without affecting the thickness or
structural integrity of the main body.”
Meanwhile all diffusers in the chandeliers and
sconces were handblown and cut, according to
 City Sanctuary

The Museum of the Duomo

of Milan. Featuring treasures,
sculptures and artwork
related to the history of the
landmark Duomo building
in the heart of Milan city.

02–06 October 2022

Find us at Hall 3.0 Stand F31
Frankfurt am Main
056 / 057

19th century techniques, including ironmongery
and cut glass.
From an architectural perspective, a central part
of the project’s vision was to reveal and restore
Wyatt’s foyers and staircase – “arguably the most
impressive Georgian sequence of public interior
spaces in existence”, according to Ball – and to
“democratise the previously segregated circulation
into the auditorium”.
“For the first time in almost a century, the
auditorium can be entered directly from street
level without needing to go via the basement
level,” Ball continued. “A new lift, along with fully
accessible circulation at each level, has ensured
that every audience member can now experience
the grandeur of the architecture, and by opening
up the original foyer entrances on three sides and
removing later accretions, the front of house foyer
has been restored to its former glory.”
The close working relationship between BDP and
Haworth Tompkins extended to the specification
process as well, as Redden explained: “Each new
lighting type specified started with a conversation
on the space, before BDP used our knowledge to
find a suitable product.
“We then did thorough sample reviews with the
architects, looking at aesthetics, fixing details, light
quality, and custom finishes. Almost every fitting
on the schedule has in some way been changed
from standard. Haworth Tompkins were open to
us leading the specification and as the project
progressed and trust developed, we were able to
influence each other’s packages to ensure the best
results.”
Despite revamping the lighting throughout, one
of the key tenets of BDP’s scheme was for light
levels to be kept as low as possible throughout
the day and evening; the optics and finishes of
the corridors and spaces were designed with
vertical illumination to ensure that the eye could
comfortably adjust from daylight, into the 50lx
interior of the auditorium. Each corridor leading to
the auditorium is lit with a flexible gallery system
of accenting paintings, so that while transitioning
through these spaces, the eye imperceptibly
adjusts to darker light levels. Each change of level
or collection of vertical details are illuminated
locally to create a space that appears ‘warm’, rather
than ‘dark’.
To further add to the ‘warm’ aesthetic, while paying
homage to the classic Georgian finishes, BDP used
modern technology to give the revamped lanterns
a traditional feel, with a theatrical control system
creating a “simulated flicker” to be broadcast
through the standard lamps, matching the original
1812 lighting scheme as closely as possible.
Redden added: “Flicker speed intensity and times
of activation were carefully reviewed to ensure the
“candlelight” never became a gimmick and always
felt effective.”
While BDP and Haworth Tompkins worked tirelessly
to ensure that the heritage elements of this Grade
I listed venue were preserved and showcased,
Redden explained that it was not without its
difficulties. “A huge amount of research was done
between the lighting designers, architects and
PROJECT THEATRE ROYAL DRURY LANE
client heritage expert, Simon Thurley,” he said.
“There were constant issues of getting cables to
new fittings, where and how to fix original fabric
and how to build in flexibility. From a heritage
perspective, a big challenge was ensuring what
we were proposing provided the right experience
for this type of building. The lighting had to add to
the drama and atmosphere but never overwhelm
or detract from the building’s original form. Safety
and inclusion were also challenging and where
light levels were kept to a minimum, we had to
focus light onto multiple surfaces to increase the
perception of brightness and provide contrast to
changes of elevation.”
The biggest challenge for BDP though, came
with the integration of modern lighting within
the historic interiors. In the 1920s auditorium,
just as the architecture changed the geometry of
the seating and the balconies, the lighting had to
deliver expected contemporary standards without
a change of appearance.
“We had to take each ‘Empire’ fitting and local
ceiling moulding to redistribute and increase
the density to provide a uniformity to a modern
standard,” Ball explained. “This required a series
of fittings to be duplicated with all original fittings
improved to the same finish quality. Existing fittings
were tested and input into calculation models to
demonstrate in advance the lighting improvement.
Where the visual duplication was known to fall
below requirements to read programmes, a series
of discrete hidden ceiling details were included to
ensure that every seat had a good light level, but
also angle of light, to read a programme.”
Elsewhere, the Grand Saloon repurposes large
chandeliers found in storage and re-shaped,
moulded and recast in Georgian proportions, while
wall lanterns were created from pencil sketches
found within the archives. The crystal pendants in
the foyer were scaled up to two metres in diameter
and fitted with both diffuser and chrome spotlights,
remaining true to their original appearance
but with hidden projection. Meanwhile, a series
of private rooms are mostly lit from perimeter
paintings and localised furniture, enabling the
crystal pendants to stay dimmed to 10%, while
hidden spotlights in the chandeliers provide table
accenting.
Redden added: “As a lighting designer, doing too
much or too little was always a concern as interiors
changed and we moved further away from some of
the original concepts.
“The light output needed to be soft and diffuse
without becoming too ambiguous. All the new
lighting needed to complement the traditional
fitting both in terms of form and in light output.
“For instance, the hidden Erco spotlights in the roof
void lighting the artwork on the walls provides a
broad, soft wash of light rather than focused frame
lighting, as that would be too much at odds with
the textured light given from the torchiere crystal
diffusers. Throughout the renovated Theatre Royal
“The concealed spotlights above the cornice in Drury Lane, BDP kept architectural lighting
interventions to a minimum, with discrete
the Grand Saloon create a soft, dappled uplight
additions complementing the revitalised
to create the impression of uplight from the heritage aspects, such as the chandeliers,
chandeliers. With the exception of the building wall sconces and lanterns.
PROJECT THEATRE ROYAL DRURY LANE
Client: Andrew Lloyd Webber
Lighting Design: BDP, UK
Architect: Haworth Tompkins, UK
Lighting Suppliers: Architainment,
Dernier & Hamlyn, Ecosense, Erco,
Factorylux, Flos, KKDC, LED Linear,
LightGraphix, Orluna, Sugg Lighting,
TM Lighting, Wilkinson
Photography: Philip Vile, Tom Niven
058 / 059
exterior crown, linear fittings used opal diffusers to
avoid typical architectural graze lighting that would
have been inappropriate in this type of interior.
“Where possible, we used discrete architectural
lighting to supplement the heritage lighting.
However, the “traditional” lighting was essentially
designed and built from the ground up to
ensure the correct period aesthetics whilst being
purposeful lighting elements.”
Despite the various challenges that the design
team faced, Redden can now look back on the
finished scheme with a lot of pride, especially
having seen how it benefits the theatre as a whole.
“Keeping the project going through two years of
Covid shutdown required vast amounts of courage
and determination from everyone involved, we are
very happy with the results and to have contributed
our part.
“The feedback from the client and public has been
very positive,” he said. “We were invited to a soft
opening and dress rehearsal performance of the
new show, and it was fantastic to experience first-
hand exactly how the lighting both supports and
complements the venue.
“It should be taken as a compliment, but
sometimes the success of the lighting also means
the level of work done is not easily recognised.
People are often surprised to discover the
torchieres didn’t exist prior to the refurb, or that
the chandeliers have taken years of development.
A lot of the lighting goes unnoticed, as it should.
“One of my favourite aspects is the picture lighting.
By turning each space into a gallery, we’ve created
a much more unique approach to providing a low
level of general lighting that makes sure each room
feels welcoming as you move around the building.
The architecture, interior design and lighting have
an equal balance and the level of coordination is
evident between each discipline.”
www.bdp.com
 talking
with…

“Representation and
conversations around
privilege are so important.
It makes people of colour
feel like we are being seen.”

Sanjit Bahra

As conversations surrounding diversity

continue to grow across the lighting
design industry, Sanjit Bahra, Founder
and Director of DesignPlusLight opens
up on the lack of representation he has
felt throughout his career.

060 / 061
 O
Top right: Bibo Restaurant, London, UK
(Image: Mel Yates)
Bottom right: Bahra speaking at [d]arc
sessions MEA, alongside Graham Rollins, LDI
(Image: Gavriil Papadiotis)
062 / 063
ver the past 12 months, the topic of representation
and diversity has been ever-present within the
lighting industry. From our own interviews, to
panel discussions, to wider conversations, there
is a continuous examination of privilege, and how
we can make this community more diverse, more
equitable and more accessible.
These conversations have been warmly welcomed
by Sanjit Bahra, Founder and Director of
DesignPlusLight, who, as a gay man of colour, has
felt that since he first entered lighting in the mid
90s, there needs to be greater representation
within the industry.
“When I started in lighting, there was hardly any
male persons of colour in the industry”, he told arc.
“I’d walk into award ceremonies and be confronted
by a sea of white faces. It’s something I have
become used to in life. However, It’s exhausting
feeling like I have to jump through hoops, overly
compensate or adjust myself to suit the narrative
before me. It might be a feeling or a perception,
but it’s a perception that has been nurtured over
the years.”
Growing up, Bahra recalled going to school in
England the early 80s “where in a school of 350
there were only two brown faces and no black kids.
From an early age I was constantly reminded that I
was different.
“Every person of colour knows that they have to
work twice as hard to get the same opportunities,
generally, in the west,” he added. “When you have
that awareness, it’s like you have to turn up the dial,
you never quite relax. The continual experience
of ‘otherness’ creates a layer of hyper vigilance,
performance and adaptation. A survival mode that
can follow throughout life.
“That’s why representation and the conversations
around privilege are so important – it makes
you feel like you are being seen. When you see
yourself being reflected back when you enter a
room, switch on the TV or open a magazine you
are being told that there is a place for you in this
world, in this industry, in the space that you inhabit
– unedited, unfiltered, just as you are.”
These conversations have inspired Bahra to
step forward and put himself out there, to give
emerging designers the figurehead that he never
had. “I never saw anyone like me when I entered
the lighting design industry, but I’m no longer the
young kid on the block. I’m approaching 50, I have
my own successful lighting business. I need to
be the one standing up and saying ‘here I am’ to
people who look like me and say ‘you can do it too’.
“I know that within my culture, for Asian men, the
career stream is often the well-trodden doctor/
lawyer/finance route, or architect/engineer if it’s
within the design field. Lighting is such an obscure
niche and I feel that if the younger me could have
said ‘hey I want to be a lighting designer’ and
pointed to another ‘me’ that had made a success
of it, my path would have been easier. As an Indian
man who runs my own lighting design business in
London, I would like to say to my culture and to the
wider world that there is a place for you here, this
is a viable avenue.”
As for his own entry into lighting design, like many
in this field, Bahra says he “just fell into it and it all
makes sense retrospectively”. “The charm of the
industry is that everybody comes from different
angles and backgrounds, so you get a very mixed
team. Diversity is already inherent within the
industry and that does make for a wider and more
accepting perspective,” he said.
Bahra’s background was originally in medicine,
as he trained to be a doctor, before leaving in
his fourth year of studies. He explained: “I got
through school on an art scholarship, but because
I was also good at sciences, I went to the sort of
schools and come from the kind of background
where academia is promoted over art. So medicine
seemed like the obvious choice. I was in an
environment that believed that art was ‘more of
a hobby’ if you could do something else. When I
decided to leave medicine, I thought ‘if I’m going to
do it, I better leave properly and go in completely
the opposite direction’. So, I left to do something
artistic, with more of a dream than a plan.
“But rather than requalifying and starting from
scratch, I did a Master’s in Ergonomics at UCL
– whilst I was studying medicine, I got a BSc in
Psychology there. So I felt this was a way that I
could bridge the gap into something a little more
creative without having to do a foundation in art as
it was building on my current degree.
“During my Master’s there was a module in
lighting that was taught by Kevin Mansfield from
the Bartlett School of Architecture. That was the
only thing that really excited me and I went on to
complete a thesis with the Bartlett. That’s how I
found out about lighting.”
After completing his Master’s, Bahra recalls
sending his CV out far and wide to lighting design
and architecture practices. “I probably could have
wallpapered my bedroom with the amount of
rejection letters that came through,” he said.
“The whole reason for me leaving medicine at the
age that I did and not finishing was because I was
young enough and stupid enough to do it. The
longer that you leave things in life, the harder it
gets to make a change. I knew that I was gung-ho
enough to do it. I think the sheer hutzpah of it all
meant that people would even entertain me.
“And so, right place right time, Lighting Design
International had an opening. I went to them,
spoke to Sally Storey and said, ‘I am a blank slate, I’ll
learn and work hard’. She took me on, and I started
from ground zero.
“It was interesting because I hardly knew anything
about the world of architecture and interiors. I was
sitting in meetings not knowing what a pilaster
was, but I would nod and make notes and then
do the research. I bought a book on architectural
terminology, because there was no Google in the
90s, and found out about corbels and lintels and
credenzas. I kept my mouth shut, my ears open
and I grafted hard. Timing is everything and this
was a good time and place to learn.”
From this entry point, Bahra spent 12 years with
Lighting Design International, rising to the position
of Associate Designer, before making the decision
in 2008 to leave and establish his own studio,
DesignPlusLight.
TALKING WITH... SANJIT BAHRA
TALKING WITH... SANJIT BAHRA
“The charm of the
lighting industry
is that everybody
comes from
different angles
and backgrounds,
so you get a very
mixed team.”
Princess Square, The Lexicon, Bracknell, UK (Image: Stuart Bailey Photography)
“I set up my business because I wanted to be
involved in the majority of my projects, and having
the company be the size that it is means that I can
do this and pick and choose the type of work we
want to do,” he explained. “One of the first jobs
that I did was Les Ambassadeurs casino, which
was a phenomenal job to start out with. Starting a
business just before a huge financial crisis was not
the easiest thing to do. However, there have been
so many ‘unprecedented circumstances’ in the past
14 years that I am so well versed in thinking ‘ok so
what’s coming next?’”
Since establishing DesignPlusLight in 2008, Bahra’s
aim for the studio has been to “bring tasteful,
discrete, beautifully-designed lighting to all
projects”, but he explained that his wider mantra
has been “just because you can, doesn’t mean that
you should”.
“I think the quiet space is very important,” he
continued. “Once you know how to be a lighting
designer, you can put lights anywhere and
everywhere, and certainly that’s possible with the
technology that we have now. For us, it isn’t about
‘can we light a space?’ – we can. What separates us
is the quiet space, the bits that we don’t light.
“Being a good lighting designer, you have to take
your ego out of it, because it’s not about you,
it’s about the client; the same space would be lit
differently depending on who the client or the
064 / 065
interior designer is. It’s about what is right for the
client and that process is like divining for water.
It’s an art, a kind of dark magic art where you feel
your way through the process. That’s what keeps
us excited.”
Throughout DesignPlusLight’s portfolio of projects,
the firm has worked on an extensive range of
hospitality and high-end residential projects. While
Bahra doesn’t have a favourite project, there are
areas that he particularly enjoys working on. “I love
spas, I always have, because you can’t get away
with anything in spas,” he said. “In a restaurant or a
hotel, you have a lot of ambient noise, be it visually
or acoustic. If things don’t go quite as planned
there are always last minute tricks that you can use
to overcome or disguise the problem. Whereas in
spas, there’s very little interior design softness that
you can bring into a space. There’s a hardscape
of interiors, and the senses are so magnified that
you’ve got to get the journey right, the acoustics
right and the lighting right. If something isn’t on-
point then you notice it immediately. That’s where
the magic of lighting design really shines through.
“I love gardens as well, because what you get
during the day and what you get at night are
two different experiences. And that takes careful
consideration – too little lighting and a garden can
feel disjointed and sparse at night. A tad too much
and you slip into ‘gauche’, which is so often done. I
 find on high-end residential projects, working with
the budgets and high calibre interior designers,
that kind of design is unparalleled - you really get
to stretch your wings and create the sublime. We
aim take that experience and deliver it across the
rest of our range of work.”
While parallels could be drawn between Bahra’s
interest in spas and wellness, and his educational
background in medicine, he is unsure whether this
more scientific-based entryway into lighting has
shaped his approach. “I don’t know because you
don’t know anything other than yourself,” he said.
“I always wondered how it would all make sense
in the end, and what’s interesting is the wellness
aspect of lighting. The science and physics of it
all is becoming more prevalent, and there isn’t an
aspect of it that I don’t fully understand. When
we talk about the melanopsin receptors in the
eye, I know the anatomy of the eye inside out, I
know how rods and cones work, I know about the
neocortex and the trigeminal nerve, because I had
to learn all of that. For me, it’s just another string
to my bow, and I feel very privileged to have had
that knowledge – the anatomy, the biochemistry,
the physics – and then to have had a career in the
more creative aspect. It creates a unique and well-
rounded perspective.”
Vitra Showroom, London, UK (Image: Sanjit Bahra)
066 / 067
Despite entering the world of lighting from a
medical background, rather than from a formal
design education, Bahra feels that the best way to
effectively learn about lighting design is through
hands-on experience. “You can’t just study lighting,”
he said. “I mean, you can (and I did) but a lot of
people come into lighting thinking they know it all
because they have a degree in it. It really helps to
know the theory of lighting, but you can only learn
lighting and interior design by grafting. You need
to put the time in. I feel very lucky that I’ve had that
time. The reason I left my previous profession at
the age I did, was because I knew I needed time
to learn and graft and get the notches on the
bedpost.
“You cannot shortcut it. It takes a while to really
understand, eat, feel, breathe and master a skill. Be
it lighting or interior design or anything else. I think
they call it the 10,000 hours rule.”
Now that Bahra has more than 25 years’
experience within lighting design and is beginning
to consider himself an “elder” amongst the
community, he is hoping that he can use his
position as a prominent business owner to boost
the profile of people of colour within the industry
– a decision that came to him after speaking with
Nishi Shah, Creative Director at Lighting Design
International and former colleague.
“I spoke with Nishi after she spoke at the Women
in Lighting Global Gathering. She said it’s not the
kind of thing that she would normally do, but she
realised that she had to represent,” Bahra recalled.
“She said to me ‘there are quite a lot of women of
colour and Asian women in the industry, but not
many of you’. I realised that she’s right – I then
asked myself why.
“I think there is a cultural perception that women
can enter into more ‘fun’ jobs and that perhaps
design is not perceived to be that ‘masculine or
serious’ a job unless you’re an architect. Putting
all generalisations and presumptions aside, all I
really want to say is that there are other avenues.
By putting my best foot forward, it educates people
about this.
“It’s not necessarily about colour, it’s about
representing the industry as a whole, showing all
the different feathers in the industry, like Nishi has
done, and like Sally Storey did – she was one of
the first women in lighting, and I am sure it was
tough for her. In the mid 90s the only two people
of colour in the industry at the time were myself
and Nishi – a woman and a gay man. We just have
to keep putting ourselves forward, showing up and
saying that there is space for everyone.
“Being a lighting designer means you traverse and
mingle the full gamut of the built environment,
from getting mucky on site with contractors, being
technical and all ‘physics-y’ with electricians, to
being all high level inspirational with designers and
clients. It takes a great deal of skill and confidence
to see a project through and across all of those
elements – each of them bringing their own set
of challenges. That’s why representation matters
– it helps to navigate all of that without feeling
‘othered’ – that you are accepted and respected.
That applies to a whole range of categories: colour,

sexuality, gender. That’s why no one person can
claim the whole narrative - it takes many to fully
represent.
“Some of the reasons why I kept my head below
the parapet were those reasons of not being
represented, and it can be exhausting and
isolating. Unless we talk about these things, you
sometimes think that you’re on your own but there
is a commonality, and you can ask for help. I come
from a generation and a time where you did things
on your own, but you don’t need to anymore. In
a post-pandemic world, you can ask for help and
lean on people a bit more. There’s a community
and support there if you ask.”
However, Bahra added that he has always felt
a level of support from his peers. “The lighting
design industry has always been a bit more aware
of difference and we’re a very accepting bunch.
I think that’s because we fit in between every
other discipline. I’ve never felt that as a gay man I
couldn’t be myself within the profession. There is
an awareness and an acceptance, we just need to
talk about it more.
“A really wonderful and heart-warming recent
moment was when we led the talk about diversity
and representation at [d]arc sessions in Mykonos
last year. A cis, straight, white, 50-year-old man
entered the conversation and said some really
TALKING WITH... SANJIT BAHRA
RAC Club, London, UK (Image: Stuart Bailey Photography)
amazing and impactful things in that forum. I really
loved that, and I love that we’re in a world where
issues like toxic masculinity and stress and diversity
can be discussed. We’re lucky that the profession
supports this. We just have to keep at it, keep
raising the profile for all the different minorities
within the industry.”
Going forward, Bahra is hoping that he can
continue to add to the dialogue, and maybe serve
as the mentor that he wishes he had. “I always ask
myself ‘what value am I bringing?’ I don’t want to
be another person chatting for the sake of it. What
can I do to help the industry with my experience, to
make it better and easier for other people? Even if
it’s being an ambassador to teach the wider design
industry about lighting. If the availability of lighting
to the wider industry is raised, then we all win.
“The future is collaboration,” he concluded. “I think
it would be wonderful if teams of designers come
together rather than grow apart. Collaboration
rather than big overarching companies doing
everything, is how you keep the design fresh and
how you keep your narrative current. The future
can be exciting. There is so much beauty, elegance
and serenity that humans are capable of creating
and it’s such a privilege to be a part of that.”
www.designpluslight.com
 eye
opener

068 / 069
SCIENTIA Created by Peruvian-born, American artist
Grimanesa Amorós for the Wellbeing
Bilbao, Spain Summit in Bilbao, SCIENTIA is a monumental,
site-specific light sculpture installed at the
Atrium of Azkuna Zentroa-AlhÓndiga Bilbao,
Society and Contemporary Culture.
The piece, spanning 60ft x 35ft x 25ft,
opened for the Wellbeing Summit, and will
remain in place throughout the summer of
2022.
“Creating immersive, large-scale sculptures
requires an understanding of how our
environment affects our state of mind
and wellbeing,” said Amorós. “SCIENTIA
will engage visitors in a dialogue with the
surrounding architecture and community,
encouraging moments of self-reflection and
personal realisation while simultaneously
creating connection through the medium of
light.”
The project’s name, SCIENTIA, is a Latin
word meaning knowledge, experience
and expertise, The word implies a socially
interactive activity; the seeking and sharing
of wisdom. Amorós believes that the artwork
explores the human connection using our
elemental understanding of the world –
fire, water, earth and light. “Through this
primordial immersion, SCIENTIA provides a
means of accessing our emotional selves
that nurtures wellbeing and promotes
community engagement,” Amorós added.
The Wellbeing Summit for Social Change
was a global event bringing together social
change, governmental, arts and business
leaders working at the intersection of
individual and collective wellbeing, held in
Bilbao from 1-3 June. The summit consisted
of ground-breaking talks, conversations
and panel discussions highlighting
the connections between individual,
organisational and societal wellbeing.
Speakers delved into how a deeply
embedded culture of wellbeing can alter
and inform our approach to driving positive,
systemic change, and how the arts can play
an integral role in the development of a
new language for inner wellbeing and social
change, providing a greater understanding
and expression of the human experience.
www.grimanesaamoros.com
www.thewellbeingsummit2022.org
www.akzunazentroa.eus
Image: Grimanesa AmorÓs Studio
Apple Marina Bay Sands
Singapore

One of the latest additions

to Apple’s beautiful array
of retail destinations,
Apple Marina Bay Sands
is a glowing orb that sits
beneath Singapore’s
impressive skyline.
Foster + Partners explains
the design concept behind
this landmark store.

070 / 071
RETAIL LIGHTING
 ith every new Apple store that opens
W around the world, there comes with it a
fervent buzz of excitement not typically
seen for retail settings.
Owing to a long-standing relationship with Foster +
Partners, the tech giant has over the years become
almost as renowned for the beautiful design of its
stores as it has for the products on show inside,
turning the locations into landmark destinations in
and of themselves. Indeed, it’s rare to see an Apple
store not alive with activity as visitors come to
experience the eye-opening locations.
One of the latest additions to its impressive
portfolio of retail destinations is Apple Marina Bay
Sands. Opened to the public in 2020, the store
stands as a distinctive presence on the already
iconic Singapore Bay, a stone’s throw from the
Moshe Safdie-designed Marina Bay Sands hotel.
072 / 073
A floating orb on the water, the 30-metre-diameter
structure is a fully glazed dome with a black glass
base, complementing its sister pavilions through
its scale and materiality. Appearing as an island in
the water, it is only tethered to the promenade by a
small bridge.
Described as its “most ambitious retail project” to
date, the design of the store is, as with all recent
Apple stores, the result of a close collaboration
between Apple’s design teams and the integrated
engineering and design team at Foster + Partners.
David Summerfield, Head of Studio at Foster +
Partners, said: “Apple Marina Bay Sands is all
about the delicate interplay between transparency
and shade. The structure dissolves the boundary
between the inside and outside, creating a minimal
platform that floats gently in the water, looking
out over the bay and the spectacular Singapore
skyline.”
Alongside the gentle ramp that leads from the
bay’s boardwalk, the store can be accessed via The
Shoppes at Marina Bay Sands, a nearby shopping
complex; a beautifully curved stone entrance,
flanked by Apple’s signature Avenue display on
either side, a 45-metre-long underwater tunnel
leads directly to a set of dramatic escalators that
take visitors on a “kaleidoscopic journey” into the
heart of the domed space.
The transition from the heart of the retail centre
to the serene environment of the store gives
customers a dramatic, exhilarating experience that
culminates with spectacular views across the bay
and towards the city.
Structurally, the dome acts as a hybrid steel and
glass shell, where the grid of the steel sections
supports the weight of the glass and shading,
while the curved structural glass panels restrain
the steel elements laterally and stiffen the overall
form against lateral loads. Each of the 114 panels
of glass is carefully selected to meet glazing indices
as prescribed by BCA Green Mark, Singapore’s own
sustainability rating system, while integrated solar
shading devices keep the interior cool.
Each of the multifunctional concentric baffles
reduce in size as they progress towards the top of
the building, providing acoustic absorption for the
store. More importantly, they diffuse and reflect
the daylight to the baffle above, creating a magical
effect and dematerialising the structure. At the top,
a semi-opaque oculus provides a dramatic shaft of
light that travels through the space, reminiscent of
Rome’s famous Pantheon.
Stefan Behling, Senior Executive Partner at Foster
+ Partners, added: “The dome appears ephemeral.
The effect is very calming, and the changing
RETAIL LIGHTING APPLE MARINA BAY SANDS
RETAIL LIGHTING APPLE MARINA BAY SANDS
Client: Apple
Lighting Design:
Foster + Partners, UK
Architect: Foster + Partners, UK
Photography: Finbarr Fallon
074 / 075
intensity and colour of the light is mesmerising.
It is not only a celebration of Apple’s incredible
products, but a celebration of light.”
Indeed, lighting design, also created by Foster +
Partners, was an integral element of the project
from the outside. During the day, the transparent
dome reflects the colours of the surrounding
water and sky, while the interior is flooded with
natural light, while caustic reflections bounce off
the water’s surface and onto the baffles. In the
evening, subtle interior lighting transforms the
appearance of the dome. As daylight fades the
concealed baffle lighting slowly ramps up, emitting
a warm, glare-free glow.
The baffle lighting is carefully integrated within
the dome’s architectural fabric, to ensure that the
linear light source, or any of its reflections, is not
visible from normal viewing angles. The intensity
is set to a gradient, which gradually tapers off
towards the lowest baffle.
At floor level, custom table-mounted lights provide
local task illumination on the display tables,
allowing the remainder of the floorplate to be lit
by indirect baffle lighting. By keeping the ambient
light levels lower, reflections in the glazing are
reduced to help reveal the spectacular, panoramic
views of the Singapore skyline through the 360°
curved picture windows.
Viewed from the exterior, the restrained, subtle
interior illumination makes the dome’s interior
space appear as an almost seamless continuation
of the Marina Bay waterfront – the overall concept
idea for the lighting was to emphasise the dome
structure without losing the transparency at night.
This feeling of continuity is extended into the
interior design of the store; the “Garden City” ideal
of Singapore flows from the promenade into the
interior spaces, with 10 trees placed along the
perimeter, providing additional shading and soft
shadows through the foliage. Set within leather-
topped planters, this creates a comfortable seat for
visitors to enjoy the view of the aby. The shading
provided by the baffles is designed to deliver ample
diffuse daylight to sustain the health of the trees.
Although ambitious in its scope, and in its
design, Apple Marina Bay Sands acts as not only
a celebration of the brand’s highly sought-after
products, but as a celebration of light, and the
delicate interplay between transparency and
shade. Where many retail environments are
designed with the idea of showcasing merchandise
and encouraging sales, Apple Marina Bay Sands
is remarkable in the way that it is designed as a
space to linger, to relax, to enjoy the space and
experience the beautiful views of the Marina Bay
Sands.
www.fosterandpartners.com
 www.luci.co.jp /en

Luci Vivoxy FLEX IP67

Light up your curves with your perfect imperfections

Glare cut shield with silicone Color variation

6500K 5000K 4000K 3500K 3000K 2700K 2200K
Beam angle variation
20°×35° 35° 50°

Adjustable SUS bracket

Glare cut shield

Bendable rail
45mm
076 / 077
The Boutique at

RETAIL LIGHTING
Inside Burj Al Arab
Dubai, UAE

The Burj Al Arab Jumeirah

is one of the most iconic
pieces of architecture
within Dubai. New to the
building is the Inside Burj
Al Arab tour, offering an
inside view of the building.
The Boutique retail space
saw Nulty blend retail and
hospitality lighting in one
luxurious scheme.
RETAIL LIGHTING THE BOUTIQUE AT INSIDE BURJ AL ARAB
ne of the most iconic buildings in Dubai,
O the Burj Al Arab Jumeirah has become
synonymous with luxury hospitality and
awe-inspiring architecture since its opening more
than 20 years ago.
Within the landmark hotel, the Inside Burj Al Arab
tour gives guests and tourists the chance to visit
previously inaccessible areas within the building,
including its illustrious atrium and Royal Suite.
One of the spaces within this tour, The Boutique at
Inside Burj Al Arab, is a luxurious, high-end retail
environment in keeping with the grandeur of the
wider building. Lighting for this space came from
Nulty, which was appointed by lead designer Killa
Design to work alongside interior design firm KCA
International and retail specialist Umdasch to
design a lighting scheme that faithfully maintains
the high level of refinement for which the Burj Al
Arab is known.
Ahmed Saliem, Projects Director at Nulty, explained
further: “Burj Al Arab Jumeirah is one of Dubai’s
most beloved and enduring icons. The history
and legacy of the hotel informed our brief for the
boutique and wider tour. Our role was to use light
to celebrate and enhance the splendour of the
hotel – every design decision was in essence a
standing ovation to the structure itself.”
The concept for the store, Saliem explained, was
to “create a world class retail environment in the
mould of a luxury hotel experience”.
He continued: “The original design scheme for
Burj Al Arab Jumeirah set the bar very high, so we
felt a duty to replicate the grandeur and precision
078 / 079
that came before us. We looked at how we could
balance layers of light to enhance the way guests
experience that space, which evolved into a
design philosophy of ‘hidden in plain sight’. In the
boutique, this meant carefully concealing light to
allow the opulence of the interior design scheme
to stand out. Where luminaires are visible, they are
beautifully understated and work seamlessly with
the overarching interior scheme.”
Within the Boutique, Nulty looked to balance
the principles of retail lighting with hospitality,
to enhance the ambience within the space while
maintaining a consistent design language with the
rest of the hotel.
“We used light to elevate the retail experience from
both an aesthetic and ambience point of view,”
Saliem continued. “On one hand, light helps to
emphasise all of the high-end materials that the
interior design team have used throughout the
space. We concealed laser blade lighting in the
reflective ceiling panels to preserve the mirrored
ceiling and perfected the colour temperature of the
lighting to reveal the depth of the exquisite metallic
textures and natural stone finishes on show.
“On another level, light helps guide the eye
through the boutique and envelops you in a sense
of luxurious comfort.”
The laser blade lighting is concealed between a
series of reflective panels to preserve the scheme’s
oval-shaped mirrored ceiling. Cove illumination
frames the mirrored section of the ceiling by
creating a soft glow of light around the perimeter
of the feature. Meanwhile recessed downlights
 C

CM

MY

CY

CMY

K
080 / 081

have been used sparingly throughout, serving the
fundamental purpose of boosting light levels to
enrich the overall visual impact of the space.
Elsewhere, integrated joinery lighting has been
discreetly incorporated in the scheme at a lower
level, highlighting key merchandise such as
branded souvenirs and high-end fashion and
accessory items. Track fittings are deliberately
understated and have been recessed into the
ceiling so that only the elegant gold luminaires are
visible. The tracks are fully flexible, allowing the
system to be adjusted to accommodate different
display configurations.
Keeping the lighting minimal was a deliberate
design decision from Nulty, done as a means to
keep focus on the high-end merchandise and
luxury finishes. Saliem explained: “Concealing
light within the space was fundamental to the
design. Our design was minimally invasive so
there are very few visible fittings in the space.
Where luminaires are noticeable, they have been
chosen to complement the material palette. Joinery
lighting picks out merchandising displays and track
lighting to add a layer of ambient illumination.
The concealed laser blade lighting achieves a
shimmering effect across the ceiling and keeps
the reflective ceiling as clean as possible. Recessed
downlights were only used where absolutely
necessary to boost light levels. Nothing that you
see from a lighting point of view detracts from the
stunning interior.”
To further add to the luxurious feel, the team
fine-tuned the colour temperature of the lighting
to enhance the overall mood of the space and
highlight the metallic textures and natural
stone finishes used to accentuate the high-end
interior aesthetic. The overall effect is warm and
welcoming, and crucially ensures a seamless flow
from the boutique to a wider hospitality scheme.
Saliem explained how the lighting complements
the various textures and finishes within the space:
“Understanding how light works in relation to
different materials and finishes is challenging but
part and parcel of the role of a lighting designer.
You can’t predict how finishes will respond to
different light sources if you haven’t done your due
diligence, which means taking the time to properly
read the aesthetics of a space. This is especially
true when you’re working with reflective finishes
such as polished stone, mirrors, and glass like we
were here. We were conscious of avoiding glare,
so we used a balanced level of diffuse illumination
and positioned light sources carefully throughout
the space.”
Although the Nulty team has a great deal of
experience in working with high-end retail
projects, for the Boutique at Inside Burj Al Arab,
the combination of hospitality and retail lighting
principles was a new challenge for the lighting
designers – one that Saliem relished.
“We had a lot of fun applying the principles of
hospitality lighting to a retail setting,” he said. “It
was about balancing the functional requirements
of the boutique with the expectations that
illuminating a hotel like Burj Al Arab Jumeirah adds
to a project. This added a layer of complexity to the
RETAIL LIGHTING THE BOUTIQUE AT INSIDE BURJ AL ARAB
lighting design because the boutique doesn’t exist
in isolation.
“It was first and foremost an integral part of the
Inside Burj Al Arab tour, and secondly an extension
of the 7-star hotel itself. We couldn’t allow any shift
in terms of atmosphere because this would jar
the overall experience of being a guest at Burj Al
Arab Jumeirah. Retail schemes can often be fairly
neutral in terms of the designs and functional
when it comes to the lighting design. The Boutique
at Inside Burj Al Arab is the opposite; it’s warm,
embracing, and rich in detail.
Throughout the design journey, Saliem explained
that there was a constant collaboration between
all partners, with every team member pulling in the
same direction to create a space that would be in
keeping with its luxurious surroundings – one of
the biggest challenges of the project.
“Hospitality projects often come with a set of
structural constraints that lighting designers have
to navigate and negotiate, but we were lucky here
to be working with a blank canvas. The boutique
was a completely new area of the hotel, so this
gave everyone working on the project the scope
to think freely and creatively,” he said. “The flipside
of this was that the pressure was on to replicate
the essence of Burj Al Arab Jumeirah in a newly
designed space.
“We took our cues from the building itself though;
everyone involved with the project had a collective
desire to pay homage to the Burj Al Arab Jumeirah
and its long-standing architectural heritage.
But within these parameters we were given the
freedom to be creative with our lighting design
concept.”
Looking back on the completed project, Saliem is
satisfied that the Boutique at Inside Burj Al Arab
not only complements the wider architecture of
the building, but also brings a new experience to
the already iconic landmark for Dubai. “This was
a unique project because the building itself is the
star of the show,” he said. “Burj Al Arab Jumeirah
is the Goliath of hospitality design, so our lighting
design needed to successfully reinforce the interior
design, which needed to successfully complement
the architecture.
“It’s reassuring that when you walk through the
boutique, it feels like it’s always been there. The
space works cohesively with the rest of the hotel,
and lighting is integral to this transition.”
www.nultylighting.co.uk
Client: Jumeirah Group
Lighting Design: Nulty, UAE
Architect: Killa Design, UAE
Interior Design: KCA International, UAE
Additional Design: Umdasch, UAE
Lighting Suppliers: Cooledge, iGuzzini,
Linea Light, Lucent, Lumisheet, Osram,
Precision Lighting, Vexica, XAL
Photography: Barry Lake
Sky Westfield
London, UK

Opened in December
2021, Sky Westfield is the
first flagship store for
the telecommunications
company to showcase its
new retail concept. With a
lighting scheme from
dpa lighting consultants,
the store fuses traditional
retail lighting with a warmer
residential feel.

082 / 083
RETAIL LIGHTING
RETAIL LIGHTING SKY WESTFIELD
n retail lighting projects, the focus for
I designers is always to create a balance
between highlighting the product and
creating a welcoming environment for shoppers.
For its new retail store concept, Sky has taken
that welcoming environment one step further,
introducing a much more residential feel in order
to effectively showcase its home entertainment
systems.
The first flagship store to utilise this new
concept, at Sky Westfield White City in London,
was completed in December 2021, with the
telecommunications company recruiting dpa
lighting consultants to develop the lighting
scheme.
Gary Campbell, Partner at dpa lighting consultants,
explained to arc the brief for the new lighting, and
how this shaped the final concept. “The client gave
us quite a clear but simple brief, in that the new
concept had to be flexible, with particular focus on
the product displays, a lower ambience and more
‘residential’ feel.
084 / 085
“Since a big part of the product offer is home
television/entertainment-based, it was important
to try and achieve a slightly softer, more residential
feel than normal retail. A CCT of 3000K and high
CRI was considered very important, after testing a
warmer CCT of 2700K that was deemed too warm
for the overall design. The focus of the customer
was to be at eye level, onto the product and not
upwards to the ceiling, so there is an emphasis on
integrated furniture lighting for visual interest and
product highlighting. The concept then evolved a
little to include feature pendant clusters over the
key VM position.”
From there, dpa lighting consultants developed
a lighting concept that saw a simple, flexible
track and spot solution suspended within the
open ceiling, using different beam angles as
appropriate with anti-glare and beam shaping
devices. This provides a varied light pattern with
focused highlighting of the product displays and a
comfortable, warm, ambient effect. At lower levels,
linear halo lighting to display panels, backlit graphic
panels or concealed lights underneath centre floor
units provide further visual accent and interest.
The main space within the store also features two
“hero pieces” in the form of semi-custom pendant
features; based on a standard Orb pendant from
Stoane Lighting, these have been adapted to
operate with RGBW light sources. As standard they
are set at warm white with a periodic sequence,
with additional colour sequences for special events
or times of the year also programmed. Seven
specific Sky brand colours are included within the
programming.
These feature elements, though striking in their
final appearance, proved to be one of the larger
challenges to actualise within the project, as
Campbell explained: “The main challenge was
in the sourcing and development of the RGBW
feature pendants, and specifically how these would
be installed structurally as two clusters together
with their remote power supplies, drivers and
controllers.
“This was quite an unusual one for the contractor,
but we had great support from the suppliers,
Stoane Lighting, and then Artistic Licence, which
provided technical assistance, supplied the drivers
and control system, and commissioned and
programmed the pendants with the client and
ourselves. It became a slight challenge from a
construction programme perspective, but there
was a great team effort to make it happen.”
These “hero” pendants merge with the more
traditional architectural lighting elements to help
create a warmer, more residential ambience within
the store, and Campbell explained how this balance
was achieved. “The buzz word these days is of
course ‘customer experience’. The interior design
had a more residential feel than would normally be
expected, but it was still important to make a bold
statement with the feature lighting to launch the
retail brand, and with this being the first flagship.
“The overall lighting scheme relies on the layering
between different lighting elements to create an
interesting three-dimensional effect. The additional
integrated lighting to furniture, steps, handrails,
 2022

Light on all that matters.

TW
RoboRadar, motorized remote control lighting
W C
on-lichttechnik.de/motorized-luminaries
RETAIL LIGHTING SKY WESTFIELD
Client: Sky
Lighting Design: dpa lighting
consultants, UK
Interior Design: The One Off, UK
Lighting Suppliers: Artistic Licence,
IBL, Lucent, Lumascape, Orluna,
Osram, Stoane Lighting
Photography: Courtesy of Sky
086 / 087
and columns very much accentuates that 3D
lighting scheme.”
The store also features several Experience Booths
– private rooms that were designed to simulate
a home environment to showcase Sky’s home
cinema systems. These booths were developed
with dimmable, automated lighting, as Campbell
explained: “The rooms were specially designed
to promote the new Sky Glass TV system, and to
show the customer the functionality of the system
on a personal level. The lighting for these rooms
was part of the room AV system, such that a pre-
programmed dimmed sequence is triggered once
the TV handset is activated.”
As the first location to utilise Sky’s new retail
concept, Campbell explained that, while for some
brands there may be a pre-existing ‘house style’
to adhere to, this was a completely new concept,
meaning that dpa lighting consultants, and interior
designers The One Off, were given the freedom to
create something totally new.
“Prior to this project, there had never been a
standalone Sky retail store, so this was very new for
both client and design team. A new retail concept
was developed from scratch, but with a strong
brief from the client of their vision, which was then
brought to life with lead designers The One Off.”
The collaborative nature of the project is
something that Campbell believes was integral to
its success, with the Westfield store setting the
benchmark for future Sky stores going forward.
He concluded: “The lighting design is closely
intertwined with the interior design concept, and it
was good to see that the final effect matched very
closely with the original CGIs. The final effect looks
fresh and vibrant, with many interesting feature
elements accentuated by the lighting.
“This store is in a mall situation, and definitely
draws the eye in comparison to its neighbours.
It really looks like a step up in visual quality.
What I think works well is the combination of
lighting elements at eye level and in and around
the product displays; it really feels like a three-
dimensional scheme.
“It sounds like a cliché, but every project that turns
out very well has to have a great team behind it,
and this was definitely the case here. From the
client to the retail designer, project manager,
the different sub-consultants and contractors,
everyone pulled together in a proactive, can-do
way.”
www.dpalighting.com
 LED dimming solutions for the lighting professional

candlePower octo
Constant Current and Constant Voltage dimmer for DC LEDs

Artistic Licence sunDial quad

Trailing edge mains dimmer for LED replacement bulbs

candlePower octo sunDial quad

8-channel DMX512/RDM controlled 4-channel DMX512/RDM controlled
Set CC or CV per channel 16-bit resolution Xicato control optional 14-bit resolution
Channel current 2A with 36mA increments 250W per channel or 500W per pair
Voltage range 10 - 60 VDC

Smooth fades to near zero... Custom or preloaded dimming curves... Advanced heat & current handling
www.ArtisticLicence.com sales@ArtisticLicence.com +44 (0) 20 8863 4515

Anchor deep
with a submersible
guiding light

LED FLEX LINEAR LIGHT EXPERT

w w w . cl e a rl igh tin g. co m
RETAIL LIGHTING
Client: Fabián Arenas
Lighting Design: Sombra, Mexico
Interior Design: Maye Ruiz, Mexico
Lighting Suppliers: David Pompa,
Nuumbra, Siec LED, Soraa
Photography: Pepe Molina
088 / 089
Fabián Arenas
León, Mexico
Taking inspiration from the historic leather
craftsmanship of the area, Sombra has created
a minimal, rustic lighting scheme for León’s
Fabián Arenas shoe store.
Inspired by the leather craftsmanship of León,
Mexico, which has distinguished itself since the
17th century as one of the main producers of
leather goods and footwear in the world, the new
Fabián Arenas shoe shop has been designed to pay
homage to its local heritage.
The store, featuring lighting designed by Mexican
studio Sombra, evokes solid and imposing Roman
ruins, while the combination of dark leather and
wooden furniture contrasts with the stone finishes.
With a concept that arose from the meeting of
a timeless, strong, rigid and resistant design,
the lighting design looks to enhance the stone
materiality, as well as the feeling of durability
and luxury. This, according to Sombra founder
Paola Jose, was inspired by the Italian design and
manufacture of shoes in León, with the likes of
Carlo Scarpa and Paolo Sorrentino all coexisting in
the same place.
“The lighting follows the design and function of the
space,” explained Jose. “We continued with the use
of stone with the decorative lighting; the luminaires
are made of fiorito stone, which become sculptural
elements and luminous objects.”
Similarly, the lighting design aims to create a
dramatic space, calling to mind Roman theatres;
linear LED lighting behind stone furniture and
shelving heightens the rocky textures and earthy
colours, as well as the endless presence of leather.
www.s-ombra.com
 VISOR NANO SPOT NANO LINE
10W 2W 1W / LED
CRI 90+ CRI 90+ CRI 90+
BEAM 4º / 10º / 25º / 36° BEAM 12º / 15º / 20º / 30º BEAM 16º / 30º
ø51 * H72 mm ø34 * H16 mm L 228 mm up to L 903 mm

images: diptyque

ARCHITECTURAL LIGHTING SOLUTIONS FOR LUXURY RETAIL

WWW.ZEPLINN.COM
 case
study
RETAIL LIGHTING
Overkill
Cologne, Germany
Spotlights from Erco
bring a gallery feel to the
boutique sneaker store,
Overkill, displaying the
shoes as works of art.
090 / 091
In the era of online retailing, shop owners attempt
to offer more to make the shopping experience in
stores appealing to customers. Overkill Cologne
has perfected this, functioning as a store for
sneakers, an exclusive boutique, and an art gallery.
Across 145sqm, the store demonstrates its love
for streetwear with displays of merchandise that
resemble exhibitions of art. In addition to Italian
marble and pictorial art, light is an essential part
of the expressive interior concept, with powerful
wallwashing and precise accentuation from
wirelessly controllable Erco spotlights.
The store opened in Autumn 2021 at the Alter
Markt in Cologne’s historic centre. Much more than
just a shoe store, Overkill represents urban lifestyle,
is a host to events and exclusive sneaker releases,
and offers a wide range of graffiti paraphernalia.
Within Overkill, exclusivity is the key word - starting
with the sneakers themselves, and thought
through to the last detail of the design concept:
the wall elements, the floor and a massive sales
counter are made of Carrara marble (Statuario
Venato). The strikingly conspicuous white stone
with grey veining was imported from Italy and
processed by a Berlin stonemason.
LED lighting from Erco lends a particular brilliance
to the surfaces. The combination of white marble
and neutral 4000K light creates a bright, fresh
atmosphere and gives spaces a clean look – the
perfect backdrop for colourful sneakers.
The shopping experience is akin to visiting an
art exhibition. A white marble rock adorns the
entrance area. Canvases by the Berlin artist
Stohead are currently displayed on the walls.
Image: Lukas Palik
The sneaker itself is also transformed into a work
of art and is appropriately presented. A custom-
designed sneaker chandelier hangs from the
ceiling, with handmade glass Adidas models
forming an impressive light installation.
The lighting concept is based on high visual
comfort and uniform wallwashing, using Erco’s
Optec luminaires: lens wallwashers (38W LED)
powerfully and uniformly illuminate the sneaker
walls. Homogeneous illumination of the vertical
surfaces creates an elegant display of merchandise
and simultaneously a generous impression of
space. Spotlights with 6° narrow spot distribution
accentuate highlights.
The light is of museum quality, including the ideal
rendering of colours (CRI>92) and material textures
of the footwear and marble. Due to precise optics
that direct the light only to where it is needed, LED
modules with just 4W are in some cases sufficient
for concise accents. Optec spotlights with wide
flood distribution (approx. 50°) were installed in the
checkout area.
Wireless light control from Casambi Bluetooth
enables the individual setting of various light
scenes. The store is brightly illuminated during
the day, but at night the accent can be placed
on the marble blocks and the window display.
The luminaire arrangement can also be flexibly
modified according to new store concepts: Optec
spotlights have luminaire heads that swivel
through 270° for precise alignment onto the
merchandise. The position of the luminaires in the
track can also be changed without tools or effort.
www.erco.com
 case
study
RETAIL LIGHTING

Image: diptyque

diptyque paris The French luxury brand of fragrances and candles, boutique, integrating Zeplinn’s Nano Line to
diptyque paris, opened a new flagship store in illuminate the products on display with strong
Seoul, South Korea Garosu-Gil, the prestigious shopping street in accentuation. Furniture lighting is a key aspect of
Seoul, South Korea. the overall lighting design, guiding the customers
A new flagship store for Designed to represent a welcoming apartment, to primary parts of diptyque’s 260sqm flagship and
luxury French fragrance inside the store, customers can enjoy artworks helping influence sales.
and decorations while looking for their favourite diptyque is reinventing the retail experience of
brand diptyque paris has
scented products; a singular project created by customers through this unique boutique concept
opened in Seoul, with
diptyque and perfectly matching the brand’s spirit. with an innovative interior design. Characterised by
lighting fixtures from
The flagship store responds to sustainable a warm and cosy look, the lighting design matches
Zeplinn.
needs in the retail industry, with a lighting power the project’s image and invites customers to
consumption of only 11.4 W/sqm. Through the wander through the stunning flagship.
new store, diptyque proves that grandiose retail www.zeplinn.com
projects can endorse a green philosophy, offering a
sophisticated experience with a modern design.
Lighting is an essential element of the architectural
process of the French fragrance house, enhancing
their customers’ experience through a memorable
and vibrant environment. To implement the
concept of diptyque’s flagship, the appropriate
lighting solutions responding to precise criteria
were needed.
Lighting designers from Owl Studio trusted
Zeplinn to provide accent lighting characterised
by their performance, flexibility, miniaturisation,
and high-end design. To mirror the flagship’s
architectural design and to deliver an impactful
influence, Zeplinn’s Visor spotlight was integrated
into the ceiling with a customised linen finish. Its
small dimension offers a discrete yet compelling
sensory journey. To create a specific atmosphere,
a colour temperature of 3000K and a CRI above 90
were selected.
Attention was also given to the millwork of the

092 / 093
 case
study
RETAIL LIGHTING
LaLaport Bukit LaLaport is a chain of shopping malls by Tokyo-
based real estate company Mitsui Fudosan. Apart
Bintang City from its 16 malls in Japan, the newly opened
Centre LaLaport Bukit Bintang City Centre is its second
overseas mall after the opening of LaLaport
Kuala Lumpur, Shanghai Jinqiao in April 2021.
Malaysia LaLaport Bukit Bintang City Centre is the
largest facility among all the LaLaport malls,
accommodating approximately 400 stores
The first of a renowned spanning across 82,600sqm of retail floor space.
Japanese lifestyle mall The mall is the cornerstone of a large-scale urban
in Southeast Asia opens development that also includes residences, offices,
right in the heart of hotels, and commercial facilities that creates a
Kuala Lumpur, featuring landmark of Japanese-oriented lifestyle.
lighting fixtures from ELR Besides hosting stores of renowned international
and Linear Works. brands, the mall also offers a first of it’s kind
dinning experience within shopping malls, multiple
unique event spaces that includes a rooftop
garden of approximately 1,700sqm surrounded by
greenery for promotional and seasonal events, and
various entertainment joints.
The overall design theme is based on modern
minimalism with touches of Japanese-style
elements. The building exterior and façade
were mainly designed on principles by choices
of materials exhibiting their natural authentic
properties, primarily illuminated using linear
luminaires with light emitted upwards along
multiple distinguishable layers horizontally.
Certain sections of the façade were lit up with
Linear Works’ LP35 linear luminaire, tailored with
asymmetric 20x40 beam angle optics to produce
a grazing light effect, and equipped with kicker-
louvres to visually conceal the light source.
094 / 095
Images: Andy Nai
The intent was to utilise the deflection and
reflection of light upon the contrasting material
surfaces to create a distinct visual of the façade
during the night, giving it a prominent appearance
that befits its presence in the heart of the city
centre.
Its Japanese-styled interior design emphasises
on the wholeness of nature. Spaces were
designed with concepts of Zen to have a
seamless connection between indoors and
outdoors, forming uncluttered environments
that are pleasing to the occupants. The interior
is fundamentally clad with light-coloured timber
panels and spaces are predominantly illuminated
with downlights, complemented with linear
luminaires that accentuate the features of the
interior design. ELR’s Veco 3 series reduced glare
downlights with “dark light” reflectors were selected
as the primary luminaire to light up the indoor
spaces. These modular concept downlights are
paired with Nest integrated LED modules and 50
Proled modules, deploying the recessed mounted
variation on flat false ceiling and surface mounted
variation blended into the louvre ceiling designs.
Medium beam optics of 35 were selected to create
balanced illumination along the walkways, utilising
a colour temperature of 3000K to produce a warm
and relaxing ambience throughout.
Altogether, the mall manifests an appearance
that reflects the cohesion of architectural, interior
and lighting design, bestowing its visitors a truly
welcoming and enriching experience.
www.elr-group.com
www.linear.works
Images cour tesy of dpa lighting consultants and Dennis Irvine Studio. Photography: James Balston Photography
Designers and installers can specify
projects with confidence knowing that
Rako can control all light sources including
smooth dimming of LEDs. System integration
is easily achievable, linking lighting to
audio-visual, security systems and curtain
and blind control.
Rako’s scope of projects is far reaching, from
restaurants, hotels and spas to churches,
residential and luxury MDU developments.
With users enjoying the ability to recall a
scene, or mood of lighting at the touch of
a button, a swipe of a smartphone or by
voice command.
Designed and manufactured in the UK,
Rako offers an unparalleled range of
products backed by a project planning
and support service that is second to none.
RETAIL LIGHTING

case
study

Image: Alessio Tamborini

Rinascimento
Foggia, Italy

Lighting fixtures from L&L Luce&Light

illuminate the vaulted arches of the
Foggia branch of women’s clothing
store Rinascimento.

The Foggia branch of women’s clothing and
accessories chain Rinascimento is housed in a
fascinating location. Appearing as a tunnel, with
brick rib vaults separated by white arches, the
space has a charm and character unfamiliar to
retail chains.
Despite the arched ceilings, the space feels bright
and welcoming thanks to the use of fixtures from
L&L Luce&Light. Stinger 2.0 projectors with built-in
power supply and 38° optics were chosen by the
lighting designers, mounted on a track suspended
from the ceiling along the centre of the vaulting.
All fixtures use LED sources with a CRI >90,
ensuring that they show the colours of the
garments and accessories in the best possible
light, with maximum colour fidelity. The lighting
fixtures can also be adjusted individually and
moved along the entire length of the track, so
that the lighting in the store can be changed
and adapted to the requirements of the specific
garments on display.
www.lucelight.it

096 / 097
dwwindsor.com/pulsar
Fira
The small but powerful, dynamic projector.
With its elegant, geometric form and compact size, Fira
is a highly versatile dynamic luminaire, designed to
enhance architectural environments through precise
illumination.
The high performance range is offered with a choice of,
dynamic LED light sources, including RGBW, RGBA and
Tunable White options to suit your project needs.
Want to learn more?
Watch our Fira video now
Featuring precision optics and our latest LED technical
innovations, Fira delivers powerful, targeted illumination
with precisely controlled beams and perfect uniformity to
direct light only where it’s needed.
Built to last, Fira has been designed to withstand extreme
weather conditions, so no matter where it’s installed, it can
deliver exceptional performance – year in, year out.
Tunable White Dynamic Colour
Technology Technology
 case
study
RETAIL LIGHTING
Leadenhall In the heart of London, Leadenhall Market is a
covered market dating back to the 14th century.
Market The current building was constructed in 1881
London, UK and today hosts an array of boutiques, shops,
restaurants, and bars. With stunning architecture,
Leadenhall Market perfectly combines a modern
Fixtures from DW retail and leisure experience with a historic look
Windsor’s architectural and feel.
lighting brand Pulsar As part of improvement works to replace outdated
were used in the lighting equipment, a survey of the existing scheme
improvements to – a mix of fluorescent and discharge lamp colour/
London’s historic types – recommended a unified CCT approach. This
Leadenhall Market. was to improve the ambience and lighting in the
market, during the day and at night.
It was a key part of the brief that the new lighting
scheme illuminated the most difficult to access,
high-level areas ‒ the interior roof and entrance
façades. Reliability was also imperative as access to
the luminaires would be problematic.
As the responsible party for Leadenhall Market,
the City of London Corporation led the project
working with Minor Works M&E Framework
Contractor Sykes & Son Ltd. Having worked with
DW Windsor previously, City of London’s Senior
Principal Building Services Engineer, Simon
Collins, was familiar with its extensive range of
lighting solutions. Collins specified customised
luminaires from DW Windsor’s architectural lighting
brand, Pulsar, to fulfil the project’s challenging
requirements.
As a Grade II listed structure, the fabric of the
building needed to be preserved. Therefore, the
luminaires were positioned between the ceiling
rafters to provide a grazing effect, highlighting
098 / 099
the roof’s intricate design. In addition, a colour
temperature of 2700K was chosen to match
the market’s existing lighting. Finally, additional
projectors were used to illuminate the ornate stone
façades at each entranceway.
The luminaires in the new scheme are controlled
via a combination of light sensors and time clocks
to allow some fittings to be on during the day,
which is particularly important on overcast days
and during the winter months when interior light
levels are reduced.
Simon Collins from City of London, said:
“Leadenhall Market is a wonderful part of London’s
heritage, and it needed a considered approach to
the upgraded lighting. Reliability was crucial, as the
height of the space makes accessibility a challenge.
“Having specified DW Windsor on a significant
number of projects, with varying levels of
complexity, they were the clear choice for the
Leadenhall Market refurbishment. The exceptional
quality of DW Windsor solutions, alongside market-
leading reliability rates, ensures our absolute
confidence in the performance, aesthetics and
longevity of the market’s new lighting.”
Paul Murphy, from DW Windsor, added: “Leadenhall
Market is an important heritage site that also
generates a significant level of income and tourism
for the local area. The new bespoke lighting we
supplied has dramatically improved the experience
in the space, and the high reliability of our
solutions is key, as accessing the lighting in the
high ceilings will not be an easy task.”
www.dwwindsor.com
 The HSBC Headquarters - Hong Kong

DIGITAL
MAKEOVER
A grand visual statement brought to
life with IP’s custom designed lighting
to mark HSBC’s 150th anniversary and
celebrate both its history and future.
Illumination Physics was commissioned to update the
façade lighting and seamlessly integrate three massive
media walls into the building’s glass façades.

The building makeover is a permanent feature and comes

to life every evening between 6.30pm and 11.00pm as well
as participating in the nightly world-renowned ‘A Symphony
of Lights’. Lighting and media content have been combined
to communicate the tale of the one hundred and fifty year
history of HSBC as well as displaying more meaningful
images which relate to Hong Kong itself.

For the first time, the building comes to life and imagination
has been realised. This is the essence of Illumination
Physics contribution to any project.

Specialists in customised lighting to suit your design

illuminationphysics.com

IP2680-Mondo.indd 1 14/07/2015 3:58 pm

 eye
opener
The Colour Bath
Tokyo, Japan
With an estimated 3.7 million commuters
daily, Tokyo’s Shinjuku Station is considered
one of the busiest transportation hubs in
the world. As part of a revitalisation project,
East Japan Railway Company (JR-East)
enlisted Moment Factory, with the support
of Sony Music Solution to develop a flagship
multimedia installation for the station’s busy
East-West passageway.
Connecting disparate ends of the station, the
passageway serves as a crucial thoroughfare
for many daily commuters. Moment
Factory’s mandate was to therefore create
Image: Moment Factory a multimedia infrastructure that would
100 / 101
inspire wonder, calm and fluid circulation,
transforming the corridor into a symbolic
landmark and meeting place.
Inspired by Shinjuku’s many facets, The
Colour Bath is a large-scale, multi-purpose
multimedia ecosystem that combines light,
sound, video and scenography to envelop
commuters in sensorial serenity, putting
them at ease while still encouraging the
continuous flow of pedestrian traffic.
A series of more than 24 unique colour bath
moments evoke the seasonal and diverse
story of the region’s culture, reimagining the
tunnel as a beacon of Shinjuku pride.
Stretching 100-metres long, but less than
25-metres wide, a key challenge behind
the project was to create a greater sense of
comfort and spaciousness within the narrow
confines of the existing tunnel. The tunnel
was further congested by a patchwork of
wayfinding, emergency and advertising
messages that Moment Factory had to
account for and complement in the design
of the multimedia ecosystem.
The approach was therefore to create a
cohesive multimedia canvas where all forms
of content can coexist. “We created a colour
bath that synchronises all media surfaces in
the space and surrounds visitors in colourful
hues, one after the other, creating a calming
experience, but also infusing a bit of wonder
into people’s days,” said Amy Chartrand,
Creative Director at Moment Factory.
As such, The Colour Bath sets the once-
uninviting passage awash in warm and
welcoming hues; no colour choice was
random, with each shade saturated with a
deep appreciation for cultural significance in
collaboration with JR-East.
The largest of its kind in Japan, the 45-metre
LED screen spans nearly half the length
of the thoroughfare, while strategically
placed lighting adds depth and height
to the concourse. Inspired by Shinkuku’s
landscapes and diversity, a replenishing
cycle of 24 capsules reflects the time of day,
various traffic periods and changing seasons,
ensuring the experience stays fresh for daily
commuters and visitors. Behind the scenes,
an integrated system architecture creates a
unified experience and allows for multiple
roles, including branded takeover moments.
www.momentfactory.com
 [d]arc sessions
The second [d]arc sessions event took place
this April at the beautiful Intercontinental
Resort and Spa in Ras Al Khaimah, UAE.
Following the phenomenal success of the launch
event in Mykonos, Greece, last October, [d]arc
media, in association with Hix, brought the [d]arc
sessions networking and specifying event to the
stunning, newly opened Intercontinental Resort
and Spa in Ras Al Khaimah, UAE this April.
Focusing on the Middle Eastern market, the event
was once again targeted at connecting people
involved in lighting specification projects in an
intimate, exclusive setting. Held from 25-27 April,
the event saw a curated guestlist, this time of 20
suppliers and 50 specifiers (lighting designers,
architects and interior designers) with projects in
the MEA region, travel to Ras Al Khaimah for two
days of one-to-one meetings, networking sessions,
and a little R&R by the pool.
Across the two days, suppliers and specifiers
met for a series of 20-minute meetings over four
Speed+Sync sessions. Here, they could sit down
to discuss the latest products, projects, trends
and innovations in the industry, with the goal
of building relationships, generating leads and
specifying products for future work.
Alongside the Speed+Sync sessions, the event
was broken up with a series of discussions and
presentations on the industry’s big topics. Opening
the first day, Mark Vowels, Director at Nulty;
Regina Santos, Design Director and Founder
of Light Fusion Specialist Lighting; and Darren
Guyett, Business Development Manager at Martin
Professional discussed the business of lighting
design in the Middle East. With each panellist local
to the region, having moved from overseas, the
discussion examined the ways in which the local
market differs to their home countries, and how
this impacts on the way they approach projects.
On the second day, the morning panel looked to
the future of lighting design, with panellists Sanjit
102 / 103
Bahra, Director of DesignPlusLight; Courtney
Mark, Design Director and Founder of Studio
Mark; Graham Rollins, Creative Director at Lighting
Design International; and Vera Dieckmann, CEO
and Creative Director of XO Atelier discussing
emerging trends, attitudes, and approaches to
lighting design, touching on sustainability and
technology, before offering their bold predictions
for the future.
The final discussion, rather than involving a small
panel on stage, was an open forum, in which
delegates were invited to share their thoughts
on the future of lighting events. With ongoing
speculation surrounding the future of large-scale
trade shows such as Light + Building, the talk was
on whether such events would be of interest to
both specifiers and suppliers moving forward,
or whether smaller, more curated events, or
regionalised trade shows will be the way forward.
The discussion brought to light a wide range of
contrasting opinions, and sparked a healthy debate
amongst delegates.
As with the debut event in Mykonos last year, the
conference programme featured a special keynote
presentation from the [d]arc awards Best of the
Best winner. This time around, Michael Grubb
shared with the audience the fascinating story
behind the relighting of Bath Abbey in the UK.
Guests were captivated by Grubb’s presentation,
and enjoyed learning more about the trials and
tribulations behind the project, leading to its
beautiful end result.
Following the Speed+Sync sessions, guests were
able to enjoy the facilities of the beautiful resort,
including a large swimming pool (with swim up
bar), beach, and multiple bars and restaurants.
Evening entertainment was spread across the
hotel, from its various restaurants to a special
[D]ARC SESSIONS
 Images: Gavriil Papadiotis (www.gavriilux.com)

104 / 105

“secret garden”. Here, guests could enjoy a
diverse selection of food, socialise and continue
conversations initiated earlier in the day until late
into the night.
Looking back on the event, Paul James, [d]arc
media Managing Director, said: “[d]arc sessions
in Ras Al Khaimah was another great success
following the inaugural event in Mykonos. The
focus on specification in the Middle East is
invaluable given the amount of activity that is
taking place in this region.
“Manufacturers, distributors and specifiers with
ongoing projects in MEA were in attendance and
all said they got a lot from the event - from the
meetings and networking to the thought-provoking
conference programme. The feedback has been
amazing!
“Once again, the delegates’ enthusiasm and
positivity, coupled with the beautiful surroundings,
made [d]arc sessions a pleasure to be part of.
“We are already organising the next [d]arc sessions
to take place in Mykonos on 18-20 October and we
are currently looking at new locations in Europe
and the Middle East for 2023.
“We are looking forward to evolving this concept
even further.”
Among those in attendance, Peter Collins,
International Sales Manager at Rako Controls,
said: “The [d]arc sessions have been incredibly well
structured in terms of content, topics and panel
members. All “session” events at both Mykonos
and Dubai have been interesting and educational,
covering relevant topics with great input from a
cross-section of industry leaders, each sharing a
spectrum of ideas and opinions. The structure of
the event provides great opportunities for new
relationships to be established, both in a formal
business setting, as well as more relaxed social
gatherings, which is a rare treat in a working
environment. Somehow, even though [d]arc
sessions is a professional work event, I don’t think
it felt that way for anyone involved, both suppliers
and specifiers!”
Ryan Rolph, Technical Sales Director at Tryka,
added: “Having had the pleasure of taking part in
the inaugural [d]arc sessions, as well as the most
recent Middle East event; I must commend the
[d]arc media team on curating such a fantastic,
[D]ARC SESSIONS
pleasurable and mutually beneficial event. We
wholeheartedly look forward to meeting more of
the industry’s leading creative minds at the next
event!”
From a specifier perspective, Mohannad Al
Salkhadi, Principal Lighting Designer at ATI
Consultants, said: “[d]arc sessions was well
organised, and successfully brought together
an interesting, vast variety of lighting designers,
speakers and manufacturers, with a great
networking opportunity, and remarkable one-to-
one interactions with manufacturers. As a lighting
designer based in Dubai, it was a great chance
to participate in a unique gathering of lighting
designers from the UAE and the UK. I will definitely
be looking forward to the next gathering.”
Graham Rollins, Creative Director at Lighting
Design International, added: “For me, [d]arc
sessions is the perfect environment to really
engage with manufacturers, contemporaries
and potential collaborators, as the format slows
your usual pace and directs you to your likely
positive connections, while leaving plenty of time
to informally meet and network away from the
pressure of the office or the hustle and bustle of a
usual trade show.”
Finally, Courtney Mark, Design Director and
Founder of Studio Mark, said: “[d]arc sessions
coming to the UAE was a welcome change for the
local lighting design community’s desert mirage.
After nearly four years with minimal international
events taking place in person, being able to re-
connect with lighting designers (old and new) and
the manufactures in an open platform was simply
rejuvenating. It was a pleasure to participate and I
will look forward to the next one in the Middle East,
hopefully, to come again soon!”
www.darcsessions.com
Milan Design Week

This June, Milan opened its doors to the design world, with product launches,
showroom events and beautiful installations held throughout the Italian city.
Here, we look back at some of the highlights from across Milan Design Week.

Blank
Targetti & Felice Limosani

“Is the Blank also a colour? The Blank is a colour
of the mind. The mind has a colour that we
never see because some other colour always
passes through our minds and superimposes
itself on our gaze.”
– Italo Calvino, 1985
The words of Italo Calvino were the starting
point of an installation created by Felice
Limosani for Milan Design Week 2022. Blank
is not just a word, but a concept around which
colour becomes an echo that illuminates and
inspires, a metaphor with a fascinating aura
that induces reflection.
This was the idea that inspired the installation,
specially created by the artist for Targetti
Foundation at the Il Castello Art Gallery in the
Brera Design District.
Through the simple and instinctive gesture
of walking, visitors immersed themselves
in colours that materialised in the space
of the installation, through lines of light
that transform the floor into a dimension
suspended between atmosphere, aesthetics
and art.
The artist, an interpreter and innovator of
Digital Humanities, updates and interprets
Calvino’s words through light, a sensorial and
emotional phenomenon that is not limited to
technology or the pure fulfilment of a function.
“The project dialogues through perception
and contemplation to remind us that
emptiness is not only a physical dimension,
but also a mental, internal, and spiritual one.
We can colour and fill it with awareness,
knowledge and humanity,” said Limosani.
Targetti, through the activities of the Targetti
Foundation, has always sought to promote
the intimate link between light, art and
architecture. For this reason, the Foundation
chose Limosani, a multidisciplinary artist of
international stature, who uses light as his
main means of expression.
In the same context, but in a separate area
of the gallery, Targetti also presented its
collaboration with Stefano Boeri Interiors,
as well as the new Ivy outdoor lighting
system, which integrates light, audio and
environmental sensors into a single element.
www.targetti.com
www.felicelimosani.com

106 / 107
 Image: Habits Design Studio

Sincronia
Habits Design Studio

Habits Design Studio, a Milan-based A modular structure of 24 interconnected

multidisciplinary study presented a striking, metal elements formed the ring, with a
interactive installation during Fuorisalone, diameter of four metres. The ring was fitted
which explored the relationship between with 40 metres of RGB LED, and managed by a
movement, light and sound. software that connects a microprocessor with
Entitled Sincronia, the piece was a physical and an infrared camera, which detected movement
digital interaction between the human body inside the ring. This processed images and
and light, made spectacular through the art of light, creating a luminous scenography with
the Kataklò Athletic Dance Theatre. unique colours and sounds.
Throughout the interactive piece, the two Sincronia ran from 6-12 June at the
dancers that moved around the circular form Superdesign Show at Superstudio Più during
produced luminous and sonorous sounds, Milan Design Week.
creating a multisensory experience for www.habits.it
spectators. The installation took inspiration
from land art pieces, drawing on the ancestral
value of the circle as a boundary of a space.
The dancers moving around the ring, and
visitors to the piece, generated a scenography
of light, colours and sound, invoking the
senses.
“Exploring dance, the gesture, the light,
we have built a humanistic relationship, a
dialogue between the people and the product.
With knowledge deriving from this model,
we can hypothesise a future of products
with emotional response, in which light is
distributed in the shape, changes with time
and is sensitive to the contest,” said Innocenzo
Rifino and Diego Rossi, founders of Habits
Design Studio.
 Lightness
MILAN DESIGN WEEK

Hermes & L’Observatoire International

At Milan Design Week 2022, French fashion
brand Hermès went on a quest for lightness,
with four translucent installations presented in
the La Pelota event space.
Through these installations, inspired by the
form of water towers, the design team sought
to play with gravity and light, finding a balance
between colour and material.
Constructed of wooden frames and covered
in coloured, semi-translucent rice paper, the
four structures, despite their monumental
proportions, appear soft and delicate, each
radiating coloured light.
Inside each colourful monument are different
elements from Hermès’ new home collection;
from fabrics and decorative pieces to chairs
and dinnerware, all precisely positioned to
seek ‘lightness in the design of the object’.
“Objects, porcelain and furniture assert their
singularity: a cut and folded sheet of leather
with hand-painted decoration becomes a
centrepiece; porcelain plates reflect sunlight;
a canework seat affords a chair as much
delicacy as it does strength. Lightness of lines
produces timeless style, as these creations
demonstrate,” said Hermès. “Our perception
changes as light plays over them when backlit
against the scenographic structures: poetic
giants and anchoring points for these small
miracles of equilibrium.”
Each structure lit from within, lighting for the
installation was designed by L’Observatoire
International. The studio was invited by
Hermès to develop the lighting scheme
alongside interior designers Studio CMP.
www.lobsintl.com
www.studio-cmp.com

Image: Maxime Verret courtesy of Hermès

108 / 109
2022
 Women In Lighting Meet Up
MILAN DESIGN WEEK

WIL Italy
On 9 June, three years (and a hundred initiatives!) after
the first gathering in Milan, Women in Lighting held a
special networking evening at the Vess Bistrot.
Hosted by WIL Italian Ambassador Giorgia Brusemini,
Ogni casa è illuminata, and lighting designer Chiara
Carucci, the evening event gave visitors the opportunity
to enjoy drinks, catch up and mingle with their
international lighting counterparts.
The event welcomed a whole host of lighting
representatives from across Italy and beyond; visitors
included [d]arc media’s Helen Ankers and Sarah
Cullen, Katia Kolovea, Content Curator and social media
manager of WIL, independent designers Giacomo Rosso,
Giusy Gallina, Sara Elise Sartore, Swathi Madhi, Gisella
Gellini and Camila Blanco, while representatives from
the likes of Metis Lighting, Studio Switch, Savetheclock,
Luminostri, Lucespazio, Studioplus, Ghidini Lighting and
formalighting were also in attendance.
www.womeninlighting.com
Image: Giorgia Brusemini

Image: Jonathan Hokklo, courtesy of AB Concept

The Forest of Reflection The Forest of Reflection takes inspiration
from the changing mountain landscape of
AB Concept, MBLD, L&L Karuizawa, Japan, the home of AB Concept’s
Luce & Light & DGA co-founder, Ed Ng. Visitors find themselves
immersed in a calming forest space depicted
by abstract Calico wallpaper and the newly-
launched Tableau collection using autumn and
winter themes.
MBLD was brought in to support the design’s
aspiration to convert nature into an interior
space while maintaining the essence of the
human experience. Lighting and its interplay
with landscape over time was an essential part
of the thought process during the creation of
the installation.
Nude glass Mono pendants are clustered
in the space, creating a warm sparkle effect
surrounded by much cooler lit woodland
imagery on translucent screens positioned
within the space. Dapple protectors by L&L
Luce & Light emphasise the forest experience.
The Nest bar stood out as a feature creating
sparkling highlights on the cocktail glasses
using magnetic mini spots by DGA positioned
on the bar frame itself.
www.abconcept.net
www.mbld.co.uk
www.lucelight.it
www.dga.it

110 / 111
l
ight+bui
ldi
ng
2-
6Oct
ober22

Joi
nus!

Hall3.
1
StandB20

#madei
nat
hens Ex
per
iencei
nLi
ght
ing
www.
bri
ght
.gri
nfo@br
ight
.gr Es
t1989
 See The Stars Again
MILAN DESIGN WEEK

Flos
To celebrate its 60th anniversary, Flos transformed the vast,
6,000sqm industrial space of Fabbrica Orobia into a retrospective
exhibition, titled See The Stars Again.
Showcasing collections from its architectural, decorative,
outdoor and bespoke ranges, Flos turned the space into a multi-
experiential hub, offering visitors an immersive journey into the
brand’s design universe and vision for the future.
“To celebrate this important birthday, we thought it would be nice
to talk about the next 60 years of the company, starting from what
Flos is today,” said Roberta Silva, Flos CEO. “For this reason, we
chose a special venue like Fabbrica Orobia to show Flos in all its
expressions, from a storytelling of the brand and its designers to
the combination of technological innovation, design, and the new
eco-friendly approach to lighting design. We wanted to convey to
our audience the story of a future Flos that is brave, curious, and
passionate.”
Alongside a vast exhibition of its wide range of products,
Flos hosted a series of special events and a varied cultural
and entertainment programme. This included live musical
performances, a pop-up restaurant and café, creative workshops
for both children and adults, a bookshop, and a talk series entitled
‘Hosting’, hosted bu Pin-Up magazine founder, Felix Burrichter,
together with fellow editors Victoria Camblin and Nicholas Korody.
The talks revolved around hospitality and entertainment as a
format for exploring design.
www.flos.com

Image: © Jung / team filmhübsch

Farbdurst
Erco & Jung

In an installation dedicated to the interplay of light and

colour, Erco teamed with Jung for Farbdurst – a concept
that plays with the visual perception of colours.
Through the visual perception known as metamerism,
the composition of light allows certain colours to
be emphasised, or to disappear completely. Erco’s
lighting concept for the Farbdurst installation, located
at the Cavalleri Spazio Danza, played with this effect of
metamerism.
Wirelessly controllable Parscan InTrack LED spotlights
were used, continuously and infinitely changing the
colour of the light, which also changed the colour of
objects. For example, by overemphasising and toning
down colours, a red, very saturated body became a
pastel-coloured object in the next moment. Shades
of colour can be completely “erased” by metamerism
and the special interplay of light and colour that is
created. Through Farbdurst, Erco, alongside the control
competence of Jung showcased this phenomenon.
www.erco.com
www.jung.de

112 / 113
 Simple and secure
remote lighting control

Pharos Cloud makes secure remote management of your Pharos

projects easy. With no additional skills or costly hardware required,
it’s an efficient and cost-effective solution. Pharos controllers connect
to the Internet securely using industry-standard encryption. With our
new Portals feature, you can now control multiple Sites from a unified
Control Panel and Schedule, add company branding, and more.

+44 (0)20 7471 9449

sales@pharoscontrols.com
pharoscontrols.com/cloud

Project: Golden Jubilee Bridge | Lighting Control System: Pharos LPC

 Image: Jonathan Forage via Unsplash

114 / 115
Pitch Dark
On the eve of the International Day of Light, Light Collective
took a group of designers, manufacturers and dark sky
enthusiasts on a camping trip to experience the Lunar
Eclipse. They tell us more about the event.
“Stars mean different things to different people. For
travellers, stars tell them where they are, where they
are going. For others, they are just little lights in the
sky. For scholars, they are the world of the unknown,
yet to be discovered and understood. For my
businessman, they are gold. But all stars stay silent.
And you? No one else in the world will see the stars
as you do… For you, and only for you, the stars will
always be laughing.”’
The Little Prince - Antoine de Saint-Exupéry
Ten years ago, Light Collective had the pleasure
of collaborating with Chilean lighting designer
Paulina Villalobos on an event to raise awareness
about light pollution and the night sky. It was
called Noche Zero and was designed to be an
inspirational event; an educational summit and
darkness experience held in San Pedro in the
Atacama Desert, the darkest place on the planet.
It was the first lighting design-led international
event dedicated to celebrating dark skies and
protecting our view of the stars and aimed
to connect and educate lighting designers,
astronomers, dark sky campaigners and others
interested in the role that the night sky plays in
contemporary life.
After feasting our eyes on the most stunning starry
skies we had ever seen, we returned to the UK
with a desire to share this experience with others.
However, when you don’t see the stars every day,
you start to forget their importance and the idea
fell by the wayside. Then we met Paul Gregory, IDA
Technical Committee, IDA-UK Director, founder
of Dark Sky Lighting, and all-round dark sky
enthusiast…
Paul had recently moved to the countryside and his
new property came with fields and some cottages.
His plan was to renovate the cottages and to create
a campsite for dark sky enthusiasts. This meeting
of ideas pushed us to reinvigorate our desire to
create an event for people to appreciate the night
sky in collaboration with Paul. So, on the eve of
the International Day of Light, we invited a group
of designers and manufacturers to come and camp
in a field to see the stars and experience the Lunar
Eclipse.
In true UK fashion the weather let us down with
complete overcast cloud cover all night, only briefly
parting for an amazing sunrise at 6am on the
International Day of Light.
Despite this, an enthusiastic group of people
ventured out to join us, camped in a field, talked
about dark skies, learnt about astronomy from
the inspiring and passionate Roy Alexander, IDA
(UK) Chair and the incredibly knowledgeable
Dan Oakley, Lead Ranger from the South Downs
National Park Authority, who was ready to go with
his telescopes in the event of the sky clearing. The
highlight for most of us was each being gifted a
piece of a 4.5-billion-year-old meteor.
Dan shared an important document with us –
Towards a Dark Sky Standard, which can be
found online here: https://bit.ly/3wPcy2z. Dan was
also a speaker at the Responsible Outdoor Lighting
at Night (ROLAN) online conference, organised by
the Society of Light and Lighting and Dr. Karolina
M. Zielinska-Dabkowska, ILLUME/Gdańsk University
of Technology, Poland, launched in May 2022.
Some special shout outs must be given to Simes
for the cheese, wine and salami; Sylvania Lighting
UK for all the other drinks; Thorn Lighting for
the food; Siteco for BBQ stuff; Solareye for cider;
and Heper for joining the International Dark-Sky
Association as a sustaining member.
If you want to be there for Pitch Dark 2 then make
sure you follow Light Collective on LinkedIn.
www.lightcollective.net
www.darkskylighting.co.uk
www.darksky.org
www.ukdarkskies.org.uk
“Roy’s presentation was inspiring and my kids were
blown away with their bits of meteorite.”
Deb Wythe, Design in Progress
“I think it’s really great that you’ve started this and
are raising awareness of the importance of dark
skies and the amazing night skies they can allow us
to see when light pollution is out of the equation.”
Christina Jester, Landscape Architect
“Happy International Day of Light 2022! What
better way to celebrate than getting the
opportunity to appreciate the value of darkness!”
Alexia Gkikia, Buro Happold
“Every day is an International Day of Light when
you’re lucky enough to work for the Institution of
Lighting Professionals, but on the day the rest of
the world celebrates too, what better way to wake
up than with an amazing sunrise?”
Jess Gallacher, ILP
“I went to see the stars and they were all among
us. ;-)”
Inessa Demidova, Arup

Alfred Felder (bottom right) welcomed
guests to the Live.Light event at
Zumtobel Group’s Light Forum, where
they could learn more about the
company’s latest innovations.
(Images: Nina Bröll, courtesy of
Zumtobel Group)
116 / 117
Live.Light
This May, 400 visitors travelled to the Austrian town of
Dornbirn to visit Live.Light, a conference and exhibition
hosted at Zumtobel Group’s Light Forum.
On Tuesday 24 May, the Zumtobel Group opened
the doors of its Dornbirn headquarters for its
largest Light Forum to date. Around 400 visitors
from across Europe and MEIA travelled to the
Austrian town to take in the 4,000sqm Light
Forum, see the latest innovations from across the
Zumtobel Group, and celebrate the winners of the
Zumtobel Group Awards 2021.
Alongside guided tours of the Light Forum,
the audience was offered a range of keynotes
on sustainability and design trends, as well as
workshops on sustainable architecture, light
pollution, digital services, and light as infrastructure
to promote a discourse regarding relevant future
issues in the industry.
Opening the day’s festivities, Zumtobel Group
CEO Alfred Felder, and Jürg Zumtobel, Former
Supervisory Board Chairman and CEO, welcomed
guests to the space, inviting them to view the
wide scope of Zumtobel Group offerings on show
across the Light Forum, from across its Zumtobel,
Thorn and Tridonic brands. Each brand had its own
space, with areas dedicated to workspace, retail,
exterior, industrial and emergency lighting, as
well as an immersive artwork from James Turrell.
The Forum also highlighted 30 years of Zumtobel
Group’s Annual Reports, in which the company has
partnered with renowned architects and designers
from around the world.
Sustainability was very high on the agenda for
the event, with a keynote presentation from
Sebastian Gann, Group Sustainability Director
at Zumtobel Group breaking down the ways in
which the company has increased its sustainability
efforts. Meanwhile, in a workshop session entitled
“A discourse on the contribution of light to
sustainable architecture”, Herbert Pamminger and
Carina Bucholz discussed the connection between
energy efficiency and sustainability, and whether
the two are synonymous with each other.
Elsewhere, one of the highlights within the
workshop programme was an informative session
on the importance of dark skies. Introduced by
Eliot Horsman of Thorn Lighting, Dan Oakley, Lead
Ranger of the South Downs National Park Authority
explained the work that he does to improve the
dark skies in the South Downs, before highlighting
how lighting manufacturers and customers can
take action to provide lighting solutions that
balance human and environmental needs.
The centrepiece of the event, was the presentation
of the Zumtobel Group Awards 2021. The sixth
edition of the company awards continued the focus
on key industry topics, with the winners across
three categories – Buildings; Urban Developments
and Initiatives; and Innovation – centred on future-
oriented developments to improve the quality of
life and sustainability in the built environment.
The winners were selected by an international,
interdisciplinary jury comprised of Kjetil Trædal
Thorsen, Snøhetta Architects; Tobias Nolte, Certain
Measures; Ian Ritchie, ritchie*studio; architect
Dorte Mandrup; and Isabel Zumtobel, Head of Arts
& Culture at Zumtobel Group.
The La Borda Housing Cooperative by Lacol, an
architecture cooperative form Barcelona, Spain,
was recognised in the Buildings category. Whole
Block Outcomes: Rehabilitating Baltimore by the
initiative Black Women Build won in the Urban
Developments & Initiatives category, while the
Special Prize for Innovation went to the Circular
Construction Lab of Cornell University, USA, for its
RhinoCircular software tool.
In the afternoon, a panel discussion took place with
each of the award winners, as well as the jury. The
discussion covered the topics of collective living,
affordable housing, and circularity – each of which
were addressed within the award-winning projects.
The day’s events ended with the presentation of
trophies to the three award winners. Alfred Felder,
Karin Zumtobel-Chammah, Chairwoman of the
Supervisory Board, the jury, and curators Kristin
Feireiss and Hans-Jürgen Commerell of the Aedes
Architecture Forum in Berlin were present on
stage, with the ceremony led by Natalie Kreutzer,
Editor-in-Chief of the Zumtobel Group.
“The Zumtobel Group Award, with its main
emphasis for innovation in humanity and
sustainability in the built environment, is more
relevant than ever,” said Isabel Zumtobel. “We had
so many valuable contributions and I want to thank
them all not only for their participation within the
Award, but also their contribution to making our
world a better one. My sincere congratulations go
to the three winners.”
Following the awards presentations, the
event concluded with food, drinks, and live
entertainment, giving guests a final chance to
enjoy the Light Forum experience.
Alfred Felder said of the event: “With the Light
Forum in Dornbirn, we made a sustainable
investment in this group location and created
a unique place of exchange and co-working. It
provides an ideal framework as a venue for events
such as Live.Light. Being able to show customers
and partners the Zumtobel Group’s broad
brand spectrum in person again and to provide
immersive light experiences is a highlight in the
Light Forum’s young history, and many more will
follow.”
www.z.lighting
 eye
opener

Image: Tim P. Whitby

118 / 119
Our Time on Earth
London, UK

Launched in early May at the Barbican Centre in

London, Our Time on Earth is an international
exhibition featuring 18 immersive, interactive
installations and digital works that use the power
of global creativity to positively transform the
conversation around the climate emergency.
Calling for a mindset shift through the
exploration of art, design, and technology, the
exhibition invites people to imagine a world in
which both people and the planet can flourish.
Fundamental to the experience of the exhibition,
the lighting by Speirs Major supports open-
minded exploration and full engagement with the
artworks, while driving innovation in sustainable
ways of working for touring exhibitions.
Mindful of the lit image, embodied energy and
energy in use for the exhibition, Speirs Major
considered both light and dark as essential
factors in the visitor experience of the galleries.
Artificial light is kept to a minimum, while
light trespass is controlled from area to area,
particularly adjacent to digital displays.
With most of the pieces located in discrete
‘pocket’ spaces created within the Curve
Gallery, the lighting designers worked with an
overarching concept of a gradient of light across
the journey through the exhibition, adding
emphasis at transitions, entrances and exits to
aid orientation. Rather than adding extra light,
tonal shifts in the background wall colours allow
the intensity and level of contrast to be dialled
up (or down) as appropriate to the artwork while
using minimal energy.
Clementine Fletcher Smith, Partner at Speirs
Major, said: “Having created a comprehensive
conceptual basis for the exhibition lighting, the
development of the design evolved in a flexible
yet vigilant way. We worked to create the best
possible experience of the artworks as details
about the new pieces emerged, while continually
checking and calculating the embodied carbon
and lifetime environmental impact, refining,
dimming and removing unnecessary lighting.
“In terms of the choice of light sources and
equipment, we adopted a holistic approach. We
used the existing track system for most of the
lighting, and were also able to locate and re-use
a selection of spotlights and accessories from a
previous exhibition.
“For the additional equipment we needed, we
explored manufacturers that could offer efficient,
sustainable and adaptable products designed
with a full, 360° life cycle, that would also be
sufficiently robust and easy to pack for touring.
Measured against these criteria, we chose Stoane
Lighting as the primary manufacturer for the
project.”
Read more about the circular approach from Speirs
Major and Stoane Lighting in this issue’s GreenLight
Alliance column on page 120.
www.smlightarchitecture.com
 Our Time on Earth:
a case study in low carbon
exhibition illumination
GREENLIGHT
ALLIANCE
BENZ ROOS, Benz Roos, Senior Lighting Designer at Speirs Major explains how
the lighting of the Our Time on Earth exhibition at the Barbican
SPEIRS MAJOR
echoes its message of creative responses to climate change.
We felt extremely fortunate to be asked to design
the lighting for the exhibition Our Time on Earth,
conceived and curated by Barbican International
Enterprises (London) and co-produced by Musée
de la civilisation (Québec City). The exhibition is
themed around positive, creative responses to
climate change and pressures on the earth’s fragile
ecosystem.
To quote guest co-curators Caroline Till and Kate
Franklin: “The conversation about the climate crisis
until this point has focused on depicting the scale
of the problem – an approach that, while valuable,
often evokes a sense of shame, helplessness and
even paralysis. But we know that many brilliant
artists, designers, and technologists are creating
ways to help combat the climate emergency. We
wanted Our Time on Earth to carve out space to
imagine a constructive way forward.”
In the spirit of the exhibition’s message, the design
team’s brief was to design as sustainable an
exhibition as possible to house the art pieces. The
architects, Universal Design Studio, created a
palate of natural and/or recycled materials such as
Honext, corrugated hemp fibre sheets and hemp
fabric for the exhibition design; and we challenged
ourselves to design the most sustainable lighting
scheme that we could.
The exhibition hosts 18 distinct artworks, each
requiring its own unique atmosphere, with most of
the artworks containing projections or screen-
based content. The digital nature of the works
contrasts noticeably with the natural material
palette of the exhibition design. We aimed to softly
highlight the innovative sustainable materials of
the exhibition framework without distracting from
the art installations.
Many video installations also include sculptures
made from organic materials such as wood and
recycled fabrics. Dramatic and focused light
illuminates the sculptures in balance with the
luminance levels of the screens and projections.
For example, Liam Young’s Planet City film is
accompanied by mannequins displaying the
costumes by Hollywood designer Ane Crabtree.
120 / 121
Traditional high-level spotlights illuminate the
costumes, and in addition, linear diffuse glowing
luminaires behind the sculptures interpret the
film’s cinematography. This backlighting
methodology also renders the beautiful textures of
the fabric.
Inspired by the artworks and the exhibition’s
theme, we prioritised the consequences of our
design decisions in parallel with designing for
people’s experience of the exhibition. Early design
discussions with the Barbican and the architects
included ideas ranging from shades made from
plant seeds to cable ties made from recycled
rubber. The concept eventually settled on a few
simple principles.
1. Utilise as much existing equipment as possible.
2. Design with minimal equipment in mind.
3. Specify products suitable for the circular
economy.
4. Make sure the visitor experience is excellent.
Circular economics and minimal (embodied)
carbon were crucial principles from the start of our
design process. The life span of exhibitions is
usually shorter than lighting for buildings, and Our
Time on Earth has a proposed life span of five
years. The exhibition will travel once the show ends
at the Barbican in August, so its temporary nature
puts the question of ‘what happens to the products
after their use’ into sharp focus. The relatively new
CIBSE guidelines TM66 and TM65 helped us direct
the specification towards circularity, and low
embodied carbon.
We inherited a selection of older fixtures – Soraa
Arc 100 track-mounted spotlights – from the
previous BIE exhibition at the Barbican. The
embodied carbon and circularity credentials are
unknown for these luminaires; however, dedicated
exhibition luminaires are very flexible by nature, so
the lowest embodied carbon starting point was to
re-use what was already available on site. The
Soraa fixtures feature a snap-on system that is an
easy and highly effective way of changing the
beams to create the right ambience for each
artwork. It made us realise that some traditional

track light fixtures already contain circular
principles in terms of in-built flexibility and
ongoing use for different types of shows.
The exhibition required new luminaires in
addition to the existing track lights. Having
assessed the market, we found that the
Stoane Lighting ZTA spotlight range was the
natural choice for the equipment, particularly
as Stoane Lighting is spearheading the
circular economy in the UK. Its KTP
(Knowledge Transfer Partnership) with
Edinburgh Napier University and the
Government’s Innovate UK allowed a complete
project assessment of the circularity and
carbon footprint of the design to be made.
PhD chemist Dr Irene Mazzei assessed the
overall design data, and her fascinating
evaluation showed us the full carbon
consequences of our specification and design
decisions for the first time. Her study
concludes that the total embodied carbon for
the new luminaires in the exhibition is 2,262kg
CO2e. To put this in context, 38 seedlings
would need to grow into trees for at least 10
years to offset this emission to become
carbon neutral. The TM65 study breaks down
the material composition of the fixtures, telling
us that raw materials, largely aluminium, make
up at least 50% of the overall embodied
Exhibition Images: Tim P. Whitby
carbon. At this point, the ZTA is a useful
product because it is circular by design. The
luminaires can be easily adapted and
refurbished into new products with different
light technical specifications or even mounting
methodologies. The Barbican could utilise the
product for new shows or light other spaces at
the end of the exhibition.
The study also showed that electronics such
as drivers significantly contribute to the overall
embodied carbon of the lighting installation.
Drivers are responsible for approximately
472kg CO2e (20%) of the 2,262kg CO2e. For
future projects, we should keep this in mind; if,
as is the case with this exhibition, we can
design systems that share drivers, it might be
possible to make further reductions in
embodied carbon.
Dr Mazzei’s tables and diagrams have been an
eye-opener in approaching lighting design.
Until now our studio has always put the
experience and the visual effect of the light as
the primary focus at the concept stage, with
the choice of the equipment that will deliver
this not considered until later in the creative
process. This relatively small project has
allowed us to begin to adjust our approach, as
designing with circular and low embodied
carbon principles requires a slightly different
GREENLIGHT ALLIANCE
Speirs Major utilised fixtures from Stoane
Lighting (left) for the Our Time on Earth
exhibition. Through the CIBSE TM65 and
TM66 guidelines, each product achieved
Excellent Circularity, meaning that
they were in keeping with the circular
aspirations of both the designers and
client on this project.
This series is curated by Roger Sexton
of Stoane Lighting,
roger@mikestoanelighting.com
122 / 123
attitude. To quote activist Clover Hogan: “Solving
climate change is not your responsibility because
it’s outside your control. What you are responsible
for is the thing inside your control, indeed the only
thing that has ever been inside your control: your
mindset.”
Thinking towards the future, we can see that
addressing climate change requires a new mindset
for lighting design. We ought to dream much more
extensively beyond beautiful lighting experiences.
Some design ideas, like the shades made from
seeds, which can be planted and grow after their
use, make a captivating story. However, on working
through the concept and discussing the embodied
carbon, it becomes apparent that these ideas are
little more than ‘green’ gimmicks. One of the artists,
Biofabricate, presents a near future in which the
fashion industry utilises bio-fabricated materials
made by living cells. Using bio-fabricated materials
is not a gimmick because it is not only about
designing a fashion piece but also takes the entire
system of production into account. As lighting
designers, we have a responsibility to think more
holistically about our approach.
Regenerative design expert Sarah Ichioka has a
good analogy for thinking about systems and
consequences. For example, she urges shampoo
manufacturers to create melanges that are good
for our hair and rivers – where shampoo might end
up. Similarly, lighting designers ought to consider
the consequences of their specifications. Specifiers
should ask questions like; what happens with the
equipment after its use? How is the luminaire
manufactured? Which materials are involved? It is
immensely encouraging that CIBSE TM65 and
TM66 provide some in-depth direction.
However, we should aspire to challenge ourselves
further and interpret engineering guidelines
creatively. Nairobi-based design studio Build X and
Mycotile exhibit the material mycelium. Mycelium is
part of the fungi kingdom and is the network of
threads, called hyphae, from which mushrooms
grow. Ikea is planning to replace all its use of
polystyrene with this bio-material, and various
decorative luminaires utilise mycelium already. It is
easy to imagine components of technical fixtures
could also utilise this material. The Soraa Arc is
predominantly made from plastic, with a cast
aluminium heatsink. But what if mycelium replaced
the plastic components to reduce embodied
carbon? After their use, when luminaires are
dissembled for recycling or re-use, some elements
would be able to biodegrade and become part of
the ecosystem again. These components could
become food for the 38 tree seedlings, allowing
them to flourish and offset the embodied carbon
for the lighting equipment of this exhibition.
One of the key aims of the curators is to send a
positive message to visitors. They want to present a
positive future with solutions to climate
emergencies. As designers, we have a lot to catch
up on. Still, this exhibition has helped us take steps
towards a lighting design process with holistic
sustainability considerations built in from the
beginning.
Our Time on Earth is currently open until the end of
August at the Barbican in London. We would like to
thank the Barbican for the opportunity and Dr
Irene Mazzei and Stoane Lighting for their support
and insightful study.
www.smlightarchitecture.com
 ZT
C H O O S E S I Z E , E N G I N E , O U T P U T, B E A M , F I N I S H , M O U N T M E T H O D , C O N T R O L , A P P L I C AT I O N

QUANTIFIED QUANTIFIED
CARBON CIRCULARITY

TM65 TM66

L U M I N A I R E D E S I G N F O R L O W E N V I R O N M E N TA L I M PA C T

Q R : s t o a n e l i g h ti n g . c o m /n e w s /s u s t a i n a b i l ity
 RESEARCH
PAOLO CREATI
Lighting design as a
strategy for inclusion
As a teacher of students with special educational needs, Paolo Creati has
recently conducted research into lighting for students with visual impairments.
He explains more about the research project here.
The number of people with low vision is constantly
increasing, as shown by the World Health
Organisation (WHO): there are 36 million blind
people in the world and 217 million moderately
or severely visually impaired people, out of a
population of 7.3 billion people. It is also estimated
that 253 million people live with 21 sight problems.
The epidemiological data refers to a study
published in The Lancet, according to which the
number of blind and visually impaired is constantly
increasing. A correct lighting organisation can
play a crucial role for subjects with visual sensory
disabilities. Specifically, the concept of light comfort
has been defined in the United Kingdom; the
ESFA (the Education and Skills Funding Agency)
says that is important to guarantee flexible and
multifunctional lighting arrangements in school
environments that allow people with visual
difficulties to enjoy the learning spaces. Following
these premises, the design of a classroom that
encompasses the objective of improving the lives
of learners through a flexible spatial organisation
and which focuses on the use of light can also be a
fundamental element. From these considerations,
I’ve begun to research the predisposition of light as
a possible strategy for the creation of flexible and
personalised school spaces.
The power of light
As a teacher of students with special educational
needs, I deal with many different disabilities and for
this research, I concentrated my interest in visual
sensory disability. The mission is to guarantee
the inclusiveness of people with disabilities, so I
had the idea to realise the principle of inclusion,
in particular for visually impaired students, by
exploiting the resource of light. A recent study
testifies that, in humans, exposure to natural light
is responsible not only for the circadian rhythms
but also for the regulation of the attentional,
learning, and psycho-emotional sphere, having
beneficial effects that contribute to the success
of one’s self-realisation. Why not consider the
application of lighting design inside a classroom?
As we know, exposure to natural light and our
position on it is also closely related to our way of
acting. A non visually-impaired individual certainly
has the possibility of improving their cognitive and
psychic functions through the instrument of light,
both natural and artificial.
Inspired by the lighting design industry, introduced
to me by Martina Frattura from Whitepure studio in
Lisbon, I had the chance to know how much power
light could have and how it could be versatile and
adaptable in different fields. My project proposal
was also inspired by the museum of the Dancing
Satyr of Mazara del Vallo, Italy, which through
the new illuminations, offers the opportunity to
improve the visual experience of the masterpieces
of art and facilitates the orientation of visually
impaired people, in this way it is possible to
observe the realisation of the concept of cultural
accessibility. Schools are places where we should
guarantee the possibility for all students to be part
of the learning process and to have accessibility to
culture, so a well-designed classroom that allows
enjoying the wellness of light can help to achieve
these goals.
Interview with lighting designers
My research started from the point that the
organisation of a school space where light is
exploited can have an inclusive value for all
students, in particular for those with visual
sensory disabilities. I conducted the study using
a qualitative approach that involved a survey
submitted to a sample group of lighting designers
coming from the United Kingdom, Kuwait, and the
United States. Combining the collected data and
the theoretical framework about the potential role
of the light, it has been possible to elaborate an
arrangement of an inclusive space for learners.
The result is the creation of a classroom in which
a lot of elements required attention, for example,
the floor must be a colour that is a strong contrast
with the walls to guarantee a better orientation,
 “Schools are places where we should
RESEARCH PAOLO CREATI
guarantee the possibility for all students to
be part of the learning process and to have
accessibility to culture, so a well-designed
classroom that allows enjoying the wellness
of light can help to achieve these goals.”
the size and arrangements of the windows are
of fundamental importance because, during the
hours of the day, natural light is the first, and
often only light source in the classroom. In the
presence of cases of visually impaired students,
visual discomfort could be increased by glare
disturbance, which could happen in the case of bad
management of natural light. The use of filters that
refract and diffuse light rays is a solution within
everyone’s reach, which does not alter the quality
of natural light in an inclusive class. Near the walls,
we have the ceiling and the floor, with similar
and different functions. The ceiling, as well as the
vertical surfaces, has the characteristic of being
able to help in the general perception of space. Any
room will be considered more or less high based
on the colour of the ceiling and the walls: a lighter
ceiling will give the appearance of a greater height;
a darker ceiling will create a cave effect. For sighted
people, this effect does not cause particular
visual disturbances, while in the presence of high
contrast, a visually impaired student, considering
the importance of this visual signal, could suffer an
overload of information and in the worst case could
lose attention. The ceiling should therefore remain
a neutral colour and/or conform to the walls.
Once that “box” has been checked, we move
on to the internal components: compared to
the standards, the desk of the visually impaired
student, depending on the type of visual sensory
disability, may have to accommodate more tools,
which leads to the need for a broader plan. But the
larger surface area also translates into a higher
possibility of reflection of light rays, coming from
both the window and the lighting fixtures, which
could lead to a malaise. Having a tilting desk is a
simple solution to this problem and is compatible
with the various possible positions of the desks
inside the room. Of great importance is also the
blackboard. In the case of digital whiteboards, it
is a real self-illuminating screen. Despite the great
126 / 127
advantage of the possibility of intensity adjustment,
if necessary, it is advisable to apply an anti-
reflective filter. The glossy or semi-glossy surface of
the screen could become a means of uncontrolled
reflection of the incident rays. The same
precautions must be taken when the student uses
a computer. In the case of a classic blackboard, the
mechanical devices of positioning and inclination,
as for the desks, are useful, but the choice of the
other type is still preferred.
The use of the space depends also on the correct
design of artificial lighting, during the darkest
hours, but also in the morning to improve vision in
case of low levels of dim light. The level of lighting
required by students can vary both between
sighted and non-visually impaired students, but
also depending on the type of visual impairment
of the student. Some students may be extremely
sensitive to light, in cases of malformation of
the retina or lens, or the opposite, in cases of
an absence of visual acuity. To determine the
best lighting, the student and the teacher must
experience the different lighting conditions, and
this, today, is possible thanks to LED lighting, it can
afford a variation in intensity, flow, and colour of
the light. In terms of visual comfort, it is allowed to
vary the intensity and colour temperature of the
source during the day.
Conclusion
The research aims to formulate a design in which
different connected elements contribute to the
building of an educational environment that takes
into account the didactic and individual needs of
students, in particular those with visual sensory
disabilities. For years architecture and pedagogy
have been dialoguing with each other, undergoing
a mutual influence, and this has led to increasingly
current reflections on the active role that the
student plays during the learning process. It is
known that, for a proper learning process, the
teacher must not base their activity on the simple
transmission of knowledge, the student learns
through interaction, individual discovery, and
experimentation, and the space has the task of
satisfying these needs and improving the teaching
experience. Visual comfort is one of the elements
that most affect the type of indoor environment
and the wellbeing of the user. Therefore, for there
to be an improvement in the vision of the space,
it is necessary to take into account a design that
involves correct lighting design of the environment.
Through the involvement of professionals in the
lighting design sector, we tried to understand
how the organisation of space, modulated
by natural and artificial lighting can improve
user performance. The design proposal of
the classroom represents the attempt to put
into practice the principles of Design for All,
characterised by flexibility and thinking in a
preventative way concerning possible obstacles.
Light plays a central role in any space; an essential
element for human wellbeing, which can not
only be a function of empowerment but also of
inclusion. The design of a classroom where a
correct lighting installation is applied receives
the beneficial effects of light at the highest levels
and also considers people in conditions of visual
sensory disabilities through careful preparation
of their personal space. This is possible by using
solutions moulded on the visually impaired or blind
individual, who will be able to achieve visual comfort
and enjoy, like their peers, the positive effects
produced by a correct predisposition to light.
The space designed to enhance the light-resource
guarantees a positive action at a psychophysical
level that will allow the pursuit of learning
objectives and at the same time can contribute to
developing their relational skills, especially because
human relations are regulated by the way with
which we relate our body with the environment.
Product
Launches
Aquaglo F22
1 Clear Lighting
Aquaglo F22 provides a more versatile
underwater lighting solution to improve
safety. Constructed with precision to combat
hydraulic pressure and low voltage, users will
have boundless applications in submersible
environments for up to depths of two-metres.
Get even more out of your water paradise,
be it a fountain, waterfall, or swimming pool.
Bring your space to life with a top-of-the-
line luminaire system that complies with
stringent standards, as it’s UL676 certified.
www.clearlighting.com
Azuma
4 Hacel
The commanding Azuma range combines
a contemporary form and optimal
functionality. Offered in both Maxi and
Mini, Azuma features state-of-the
-art Zhaga single point modules and outstanding
colour rendering properties. track, surface
and wall options are available in a large
choice of lumen outputs, delivering up to
6380 lumens. The Azuma range is ideally
suited to all retail and display applications.
www.hacel.co.uk
railSplit extreme
7 Artistic Licence
railSplit extreme is a six-way DMX512/RDM
splitter/fixer, optimised for harsh conditions
and electrically noisy environments. It is
protected from accidental connection to mains
(up to 425 VAC continuous) on the input, loop
and outputs and will ‘self-heal’ after such
an event. Additionally, surge protection on
all terminals provides resilience to lightning
strikes (the protection is sacrificial – better to
lose a splitter than destroy all the fixtures).
www.artisticlicence.com
48V DC Track Drivers
10 eldoLED
Solve your track dimming performance issues
for good with eldoLED’s 48V DC track LED
driver series. These 32W drivers are one of
the only programmable track drivers on the
market that meet flicker performance industry
requirements. Perfect for any retail, indoor or
hospitality space. The ECOdrive version enables
high quality dimming to 1%, its SOLOdrive
is optimised for deep-dimming and dim to
warm applications whereas the DUALdrive
is tailored to Tunable White applications.
www.eldoled.com
128 / 129
ZTA.50.PLP
2 Stoane Lighting
Born from an opportunity to put waste to use,
ZTA.50.PLP is partially manufactured from the
mixed fine powder overspray collected from
Stoane Lighting’s powder coating finishing
plant. The inner core of this addition utilises
the ZTA.50 central heatsink and cap, permitting
easy repurposing as a spotlight in its next
life and numerous light engine and optic
options in its current one. The outer PMMA
shade is available in three main options, all of
them capturing unavoidable industry waste
material and escalating it up the value chain.
www.stoanelighting.com
LD42D & LD42DA
5 LightGraphix
The LD42D, is an evolution of the existing
LD42 miniature wall light range. It features
a machined domed bezel, removing glare
when viewed from above. In addition, the
LD42DA features an extra 20° tilt film, to focus
the light down for a concentrated effect.
Rated IP67, the fittings are ideal for lighting
narrow or wide steps and pathways within
interior, exterior and marine applications,
achieving a floor wash of up to three-metres.
www.lightgraphix.co.uk
RoboRadar
8 ON Lichttechnik
RoboRadar is a series of motorised luminaires
designed for a variety of applications, including
retail, showroom, museum or private projects.
With its elegant design and smart technology,
this RedDot and Design Plus award winner,
is an excellent choice for any installation that
requires flexible lighting. RoboRadar can rotate
and tilt, while simultaneously brightness and
CCT capabilities can be adjusted. Through the
control system it is easy to set up scenes and
automations offering even more flexibility.
www.on-lichttechnik.de
50 Classic & 50 Pro
11 ELR
The new generation of 50 Classic and 50
Pro LED modules is slimmer, with a smaller
form factor yet maintaining its performance,
technology and features. With a smaller
heatsink, it can now be fitted into more variety
of fixtures to provide more options. It is now
available in ProART98, producing light closely
matched to natural sunlight, with extremely
high colour rendition of Ra~98, R9~98, fidelity
index of Rf≥98 and gamut index of RG≥98.
www.elr-group.com
Xena Trimless
3
Zeplinn
Zeplinn’s miniaturised downlight Xena
Trimless combines flexibility, performance,
and design. Its 4° beam angle assures accent
illumination and gives your store a remarkable
atmosphere. It offers high contrast between
circulation and the products displayed. Xena
Trimless can be customised in black, white, or
custom finish to match your brand identity.
www.zeplinn.com
porto
6 mawa
Hermann August Weizenegger’s suspended
lighting system, porto, constructed and produced
by mawa, is highly adaptable to a variety of
indoor conditions. Thanks to a special hinge, the
porto lighting system can be easily expanded
or arranged. The key feature of its design is the
embrace of contradictions: clearly defined edges
and rounded corners with powder-coatings
in black, white, industrial, grey, beige, or red.
The housing, milled and folded from a single
piece of aluminium, is absolutely unique.
www.mawa-design.de
Custom Engraved Keypads
9
Rako Controls
Rako’s full range of keypads can be custom
engraved to create a bespoke solution for any
project. From residential, to luxury hospitality
and commercial installations, design your
keypads using Rako’s ‘Plate Designer’ tool.
Rako’s attractive keypad ranges include screwless
fixing designs, creating a clean, uncluttered
aesthetic, with seven different finishes to suit
contemporary or more traditional interiors.
www.rakocontrols.com
FLC210
12 We-ef
The FLC210 projector has a functional and
well-conceived design, with extensive options
for individual lighting design. It is ideal for
projecting sharply defined light circles, gobo
patterns or illuminating polygonal surfaces.
Measuring just 298mm x 172mm x 197mm,
the projector is extremely compact, with
power ratings of 18W and 26W and two
different light colours. The FLC210 projector
can be used to project interesting motifs
onto buildings and surfaces in towns and
cities or to convey advertising messages.
www.we-ef.com
1 2 3

4 5 6

7 8 9

10 11 12
 case
study
Image: Sven Ellsworth, courtesy of Four Seasons Bangkok at Chao Phraya River, Project Lighting Design
The Four Seasons The Four Seasons Bangkok at Chao Phraya River
sits in the heart of Bangkok’s creative district.
Bangkok at Chao Delivering on the Four Seasons promise of a one-
Phraya River of-a-kind experience, the Four Seasons Bangkok
provides guests with majestic river views, world-
Bangkok, Thailand class inventive cuisine and gentle yet breath-taking
courtyards.
Project Lighting Design The hotel chain hired Jean-Michel Gathy of
harnessed LED driver Denniston, AvroKO and PIA Interior Company for
technology from the interior design and Steven Gough and Peggy
eldoLED to enhance the Tan of Project Lighting Design for the overall
lighting design to bring their vision to life.
sleek, luxurious feel of
One of the most striking elements of the Four
Bangkok’s newly opened
Seasons Bangkok is that many key spaces have a
Four Seasons hotel.
unique design that celebrates the water and Thai
culture. Every room and story incorporates multiple
lighting strategies. Creating a cohesive narrative
required a precise lighting palette and control
equipment to weave the varying interior design
elements together.
Project Lighting Design incorporated a variety
of eldoLED drivers – ECOdrive 20W, SOLOdrive
20W/A, 30W/A and 50W/A and LINEARdrive 200W
– in combination with DALI Control by Helvar and
luminaires from Aero, ModuleX, Precision Lighting
and RCL for the public spaces, restaurants and
landscaping areas.
eldoLED’s LED driver technology was interoperable
across the specified luminaires and dimming
systems, with no issues in compatibility. The
combinations achieved a fine calibration of lighting
levels programmed for spaces, artwork and
features throughout the day and night with smooth
transitions between scenes.
130 / 131
Bespoke decorative lights were another intriguing
element within the guestrooms. This required
great overall lighting and dimming quality. Project
Lighting Design leveraged eldoLED drivers with a
Lutron MyRoom system and Aero luminaires. By
specifying this trio, the bedrooms achieved smooth
dimming with fine resolution. This highlighted the
Four Seasons’ acute attention to detail with respect
to the landscape and culture.
Dimming quality is critical to the customer’s
experience within many of the spaces. Project
Lighting Design wanted to ensure the extremely
low dimming levels (0.1%) within the themed
restaurants, bars and outdoor areas were up to the
visual standards to elevate those designated areas,
and that the visual perception of those dimming
levels were accurate. Designers used eldoLED
drivers and technology throughout these spaces
to achieve their desired effect. The result? Optimal
dimming that accentuated the rooms and overall
experience with the accurate visual perception
levels. Additionally, the high-power factor of
eldoLED’s LED drivers ensured minimal wastage
of energy in the form of ballast losses, promoting
longevity and sustainability within the spaces.
Project Lighting Design’s choice of eldoLED DALI
LED drivers, in combination with the various
controls and luminaires, proved interoperable and
brought the different visual storytelling elements to
life within the Four Seasons Bangkok. Highlighting
the cultural and geographical elements with acute
detail to elevate the customer experience with
sustainable deep-dimming.
www.eldoled.com
Smooth White COB Arrays

Natural, Healthy, Smooth Spectrum Light Output

Halogen matched spectrum, low blue

light content
High Color Rendering > 95CRI
R1 through R16 > 90
CCT 2700K, 3000K, 3500K, 4000K,5000K
TM-30-15 Rf=94, Rg=99
High Melanopic Ratios (M/P)
5 LES options from 6mm to 22mm

Improving Life with Photons www.luminus.com

 case
study
Swansea Arena The striking Swansea Arena is a brand-new
£135m music and theatre venue, operated by
Swansea, UK Ambassador Theatre Group (ATG). Set to attract
some of the world’s most famous music acts and
The brand-new Swansea much-loved theatre productions, the 3,500 capacity
Arena features a vibrant indoor arena will no doubt become a popular
entertainment venue in the city.
exterior lighting scheme
The new arena is part of a large-scale development
with fixtures from Tryka,
in the centre of Swansea, called Copr Bay. This will
that complements
also offer new shops, restaurants, apartments,
its extraordinary
and parkland. The area will be serviced by two new
architecture.
multi-storey car parks and a pedestrian bridge
over Oystermouth Road, improving connectivity
between the city and the beach.
The design and architecture of the building is
revolutionary, firmly putting the arena at the
forefront of modern and future-proofed leisure and
entertainment venues. Its stunning LED façade is
particularly notable, making the venue instantly
eye-catching and awe-inspiring.
To achieve this, 97,000 LumiNode Pixel LEDs
from Tryka have been used on the façade. The
LumiNode Pixel LED is a full-colour, 16-bit, RGBW
solution, guaranteeing smooth dimming and
optimising colour output for the most vivid image
and video playback.
For the Swansea Arena, the LumiNode has been
made-to-measure to suit the specific needs of the
project, with pixel pitches ranging from 110mm
through to 435mm, while the custom-moulded
body is designed to suit a 30mm aperture for a
panelised installation, allowing ease of installation
as well as any future maintenance or system
upgrades.
132 / 133
The luminaire is manufactured from an IP68 sealed,
injection-moulded clear body, with sprung ears
for direct panel mounting to a 30mm aperture.
Pre-linked injection moulded cables link the LED
nodes, available with custom LED pixel pitch, with
a maximum of 128 pieces per string. Adding to its
extensive list of features, the LumiNode Pixel LED
offers an ultra-lightweight design and compact
dimensions that ensure a discreet installation.
When partnered with Artnet DMX to SPI control
protocol, LumiNode allows complete control
for decorative and architectural lighting, and if
required, full image and video playback effects. This
makes it perfect for architectural, entertainment,
advertorial applications, or more lighting effects.
For Swansea Arena, the bespoke LumiNode
luminaire arrangement is powered by 12V
Meanwell HLG power supplies and ARTNET control
interfaces. They are housed in a weatherproof
enclosure, custom-built by Tryka. Other elements of
the control system are from Pharos. This includes
the Pharos VLC 1000+ for the façade, and the
Pharos LPC and RIO D for landscape controls. The
control system was programmed by Tryka.
Ryan Rolph, Technical Sales Director at Tryka, said:
“Tryka has a wealth of experience within the leisure
and entertainment industry, so it was exciting to
add the Swansea Arena to our portfolio. The venue
is ground-breaking, demonstrating what can be
achieved with visionary architecture and design.
It will be a visual spectacle within the redeveloped
area of Swansea and will undoubtedly become a
destination in its own right.”
www.tryka.com
Feel free!

PROLED Flex Strip Opal Shape

FLE XIBLY SH APE ABLE

360° LIGHT EMISSION
FLE XIBLE LENGTH UP TO 5 M
IP 54 . DIMMABLE

w w w. p r o l e d . c o m
 case
study

My Garage
Vejle, Denmark

My Garage is the place for Danish petrolheads,

whether storing, selling, repairing, or tuning.
Emco delivered high-performance lighting to
the space, worthy of the high-performance cars.

My Garage is all about luxury and high-
performance cars; across its showrooms, storage,
and workshops, it is a one-stop for car enthusiasts.
A new lighting system, utilising Emco’s Hybrid
system, means that now, every four-wheeled
beauty is illuminated optimally throughout the
entire centre.
Hybrid delivers on all parameters. The even and
efficient lighting brings out every curve, line
and detail on the cars, supporting the entire
experience. And because the light doesn’t flicker,
employees and visitors won’t get headaches or feel
uncomfortable at the end of the day.
DC Workshop, which is part of My Garage,
especially benefits from Hybrid’s high colour
reproduction, making every scratch and dent
easier to spot. All this state-of-the-art hardware is
wrapped up in a sleek Nordic design that blends
nicely with the rest of the industrial environment.
Alexander Christiansen, Managing Director and
Co-owner of DC Workshop, said: “With our new
lighting set-up, it amazes me how we were able to
see and get work done beforehand in the shop.
Now, with our new installation, everything is lit up
perfectly, and we have light where we need for an
optimal working environment.”
www.emcogroup.co.uk

134 / 135
 Design
SOUND
with
Made in Tuscany

A high-end architectural light that starts to integrate pro audio

announcing a new era for designers who want to innovate
ambiences for human centric design

by
 case
study
Lincoln Cathedral Standing tall over the city, Lincoln Cathedral is a
magnificent and iconic international landmark,
Lincoln, UK and one of Britain’s most spectacular pieces of
architecture. Once admired as the tallest building
A landmark for the city, in the world, the spire at Lincoln Cathedral was
Lincoln Cathedral has an impressive feat of engineering, reaching a
remarkable 525ft before the central spire collapsed
been given a facelift
in 1548, nearly 250 years after its completion, and
with a bold new exterior
was never replaced.
lighting scheme, featuring
As part of Lincoln Cathedral Connected – a multi-
dynamic lighting control
million-pound transformational project funded by
from Pharos.
The National Lottery Heritage Fund – significant
work has been undertaken to radically improve the
cathedral’s setting and visitor experience, offering
engaging and dynamic spaces for visitors to enjoy.
Light Perceptions was appointed to deliver a new
lighting system to replace the exterior lighting
at the cathedral. An essential component of the
design brief was to change the orange-tinted
floodlights for softer, whiter lights, to showcase the
cathedral’s intricate stonework and Gothic features.
In accordance with the carefully considered
lighting brief, Pharos Architectural Controls was
selected by Light Perceptions to bring the project
to life, using Pharos Cloud to control the external
lighting scheme remotely. Pharos Cloud offers
simple and secure lighting installation control
and management remotely from any PC, tablet or
mobile, any time and from anywhere in the world.
Featuring a highly adaptable online scheduler,
Pharos Cloud enables lighting to be programmed
for just the right moment and updated by users
with ease, making it the perfect solution for Lincoln
Cathedral, which requires versatile lighting to
136 / 137
Image: Courtesy of Lincoln Cathedral
deliver a variety of colour options when lighting the
towers in recognition of important, local, national,
and international events.
The installation uses a dynamic lighting control
system, also from Pharos. Lincoln Cathedral
features a Pharos LPC 2 (Lighting Playback
Controller 2), connected to Pharos Cloud, which
supports the DMX lighting protocol, and 17 RIO
D (Remote Input Output DALI) devices, which
provide a remote and scalable way to control all
the DALI fixtures and ballasts. Each RIO D supports
a single DALI bus, which is used as an output for
control and as an input for triggering, allowing the
cathedral to be lit in beautiful, colourful lighting
scenes.
Five Pharos TPS (Touch Panel Station) screens have
been integrated into the scheme to provide users
with a customised interface to trigger and adjust
scenes, timelines, and overrides.
Commenting on the project, Tim Edwards at Pharos
Architectural Controls said: “Lincoln Cathedral is a
phenomenal structure which, to this day, has stood
the test of time. It has been a great pleasure to
work with Light Perceptions and the wider project
team to deliver a futureproofed lighting solution
that ensures the cathedral continues to shine for
years to come.”
www.pharoscontrols.com
 UNDERWATER ILLUMINATION
ALWAYS AT THE HIGHEST LEVEL
WWW.WIBRE.DE
Photo: Tomas Majewski, www.tomaszmajewski.no
Partner: Luminator AS, www.luminator.no
UNDER Restaurant, Lindesnes, Norway

MADE IN GERMANY. SINCE 1919 | WWW.WIBRE.DE PIONEERS IN IP68-LIGHTING

WIBRE Elektrogeräte GmbH & Co. KG · Leingarten/Germany · +49(0)7131 9053-0 · info@wibre.de U N D E R WAT E R L I G H T I N G | E X T E R I O R L I G H T I N G

Anzeige_236x333.indd 1 18.01.22 08:25

 case
study
Bulthaup The new showroom by Bulthaup in Toronto,
Canada is an open-plan space with large plate glass
Toronto, Canada windows facing the street, providing visitors with
an inspiring overview of Bulthaup kitchens: islands,
The new showroom for counters, built-in units and free-standing pieces
kitchen manufacturer showcasing the different systems and finishes that
the brand has to offer, gracefully combining white
Bulthaup features Rail
surfaces with other subtle Bulthaup hues, stainless
luminaires from KScape,
steel, and warm wood veneers carefully crafted by
combining light and
their expert artisans.
sound in one fixture.
In addition, the showroom boasts a series of
lighting fixtures by KScape, with the added benefit
of sound, along with pieces of furniture by other
manufacturers, carefully selected by principle
138 / 139
Stefan T Sybydlo of Bulthaup – the perfect
complements to the kitchens and transition areas
in Bulthaup projects. All of these elements shape
a renewed invitation to the pleasure of living in
appealing spaces, cooking, and sharing the best
moments in the heart of the home.
The planning area within the showroom, located
in the central hub of space, is where the experts
at Bulthaup Toronto design and develop their
projects. Two Rail lights with a symmetric parabolic
configuration and indirect light are placed over
the workbench display, controlled with DALI by a
Control 4 smart system for both light and audio.
The foremost value of the Bulthaup brand – the
pairing of traditional craftsmanship with state-of-
the-art technology – is reinforced by a team that
knows their customers well and is capable of fully
capturing their needs and desires, searching for
the best solutions in each specific project and most
importantly inspiring them.
“It’s exciting, having a sound come from the middle
of a room so inconspicuously. It gives the consumer
a new experience that fits perfectly into the modern
and sleek design Bulthaup clients know and
love,” said Sybydlo. “When looking at it, it’s almost
unbelievable that such great sound can come from
such a thin and unassuming piece. The kitchen is
the heart of the home, a space for all to congregate
in and enjoy. Sound and light are a large part of
that, and an effective combination is paramount.”
www.kscapemergingsenses.com
Profile
Light broadly, light discretely, light softly.
From a building’s front entrance to public plazas
and everywhere in between, the Profile lights
introduce a cohesive form with aesthetic and
functional versatility to outdoor spaces.
Designed in collaboration with award-winning
lighting designer Linnaea Tillett and Tillett
Lighting Design Associates.

Find us at landscapeforms.com or
contact us toll free at 800.430.6205.
 case
study

Image: Alex Jeffries Photography

Westin Hotel The palatial renovation of the Westin Hotel Dubai illuminated with the high-power Lumen Line range
Mina Seyahi Beach Resort & Marina offers guests which is fitted into the cove. It not only helps in
Dubai, UAE the chance to step inside a world of pure luxury. emphasising the architectural curves but also
Lighting design consultants Smith Tait were magnifying height and dimension. In addition, Flexi
At the Westin Hotel Dubai appointed to deliver a creative lighting concept Grazer Narrow in 20° beam angle, has been used
Mina Seyahi Beach Resort for the Westin atrium lobby which features in the foyer for coffer lighting, subtly framing edges
magnificent, tiled floors, a grand gazebo and of the room and devising a powerful visual effect.
& Marina, designers
stunning gold furnishings crafted by renowned The Westin atrium is a visual spectacle and one
Smith Tait specified
boutique interior design studio, Stickman Tribe. that will be engrained in guests’ memories for
fixtures from LEDFlex to
The desire for the project was to enhance the years to come. Andrew Bunker, Managing Director
accentuate the grandeur
area by building different layers of light to define for LEDFlex Group Middle East, said: ‘’We have an
of its atrium lobby.
the space, creating depth and atmosphere, while impressive portfolio of hospitality projects here at
accentuating the impressive interiors housed LEDFlex and we are delighted to add the Westin
within the neoclassical architecture. The key was to atrium lobbies to our successes. The hotel is grand,
curate lighting that was dynamic yet discrete, with classy, and high-quality. Using our LED solution, we
luminaires that are not only premium in quality, but have ensured the lighting reflects this.’’
also efficient. www.ledflexgroup.com
To illuminate the vision LEDFlex was specified by
Smith Tait. Upon arrival, guests are met with an
opulent indoor gazebo structure that hosts the
main reception area. Eco Flex in 3000K enclosed
in a black profile has been surface mounted along
the frame, as well as the cove of the gazebo, which
emits a soft, ethereal glow around the edges,
creating an inviting yet intimate ambience for
guests. The luminaire is further integrated as an
indirect light source beneath the raised seating
platform within the Gazebo to add an extra layer
of illumination and amplify the depth. Across the
gazebo stands a majestic bar area that highlights
the reception’s symmetry. The bar joinery has
been integrated with Lumen Line in 3000K to add
an element of drama to the space. Leading from
the main reception area is the foyer, primarily

140 / 141
 S
ITEIOM
NS BA
L AT TT
I CAREGUL ER
R EEE
B T

IE
D C
W

S
VE LE

Y
CO E
RE
ALL
LA

ES L
A
CI
M

S ER
IR
P

M A
& OM IN
C
L UM

FREE

FREE LAMP RECYCLING WEEE GUIDE YOU

BATTERIES &
ELECTRICALS
As a non profit organisation,
Recolight can offer a low cost
recycling service. Giving you a
complete WEEE service.
FREE collection and recycling and
FREE container for sites collecting
over 1000 lamps each quarter.
Options available for smaller
quantities.
A team of WEEE experts to
help with your paperwork.
All consignment notes are
FREE.
WE COVER THE UK
Recolight operate the UK’s
largest collection network
for fluorescent and LED
lamps.

info@recolight.co.uk

3D LED Flex 100 System IP20
Modular, 3D Flexible LED linear lighting system
28 x mid power LEDs per 100 mm module
Up to 95 Watts per mtr and 9,500 Lumens per mtr
www.radiantlights.co.uk | +44 ( 0 ) 208 348 9003 | david@radiantlights.co.uk | London, N6 5JW | All products designed by
arc ad JUNE-JULY 2022.indd 1
Advertisers Index
ACEVEL 014
Alto 017
ArchLIGHT Summit 124
Artistic Licence 087
Bega 029
Bright Special Lighting 111
Clear Lighting 087
CLS-LED 012
[d]arc awards 147
[d]arc sessions 008, 009
dpa lighting consultants 144
eldoLED 016
ELR 023
Erco 002
Feelux 093
formalighting 079
GVA Lighting 065
Hacel Lighting 006, 007
HLB Lighting Design 145
Illumination Physics 099
Intra Lighting 021
KKDC 055
KScape 135
Landscape Forms 139
LED Linear 148
Advertising enquiries should be made to Jason Pennington. Tel: +44 (0) 161 476 8350 email: j.pennington@mondiale.co.uk
142 / 143
Please contact Radiant for product information,
to see demo samples, or for a presentation
Mall of Oman, Muskat
Lighting design by Aecom
Over 430 mtrs of the 3D LED Flex 100 System provides ambient indirect lighting
around the columns and the complex curved profiles of the ceiling coves
10/06/2022 11:27:46
LEDil 109
LiGHT 22 010, 011
LightGraphix 018
Ligman 013
Luci 075
Lumascape 003
Luminus 131
Mawa Design 045
Metis Lighting 144
Michael Grubb Studio 143
ON Lichttechnik 085
Pharos Architectural Controls 113
Proled 133
Pulsar 097
Radiant Architectural Lighting 142
Rako Controls 095
RCL 059
Recolight 141
Reggiani 035
Seoul Semiconductor 015
Stoane Lighting 123
Tryka L.E.D. 004, 005
We-ef 091
Wibre 137
Zeplinn 089
WE ARE HIRING
Looking to join a forward thinking, multi award winning, established
lighting design Studio?

Then look no further.

Our brand new London Studio is looking for creative, enthusiastic and ambitious lighting designers, at all levels, to join our team.
We are currently recruiting the following roles:

Production Assistants / Graduate Lighting Designers

Applicants must be passionate about design, have great communication skills and be fluent in both written and spoken English.
Tasks will include CAD layouts, detailed drawings, written documents, graphic presentations, and general co-ordination as needed
to support our creative team. Photoshop and InDesign use are essential. Other Adobe Create Suite software knowledge would be
an advantage, as would Revit, DIALux and Lighting Reality.

Lighting Designers
Applicants should have a minimum of 1-years’ experience within the lighting design industry and be familiar with AutoCAD,
Photoshop, Indesign and DiaLUX. The role will involve design and production support, with the opportunity to participate in the
design process and contribute to our award-winning projects. You will need to be customer facing as you will be required to attend
client meetings, and work on projects from concept through to completion. Site visits and travel will be required.

Senior Designers
You will require natural leadership qualities and aspirations to fulfil management duties moving forward. You will need to be
an excellent communicator, able to inspire clients, collaborate with design partners and demonstrate technical knowledge with
regards to lighting technology and legislation. Candidates must have experience as a lead designer on large complex projects.

At Michael Grubb Studio we are proud to offer a competitive salary plus an annual bonus scheme, flexible working, additional
holiday per year, industry events and training, international travel, and social events, such as our own summer beach party at our
Bournemouth HQ, as well as great company culture. You will become part of a fun and growing team.

We have adopted a flexible working policy, with staff being asked to work a minimum of 2 days from the Studio. Applicants will
therefore need to be self-motivated and capable of supporting the team remotely.

Please send CV and covering letter to: london@michaelgrubbstudio.com

Strictly no agencies.
dpa lighting consultants have the following positions available:
Senior Lighting Designers - Oxfordshire, London & Dubai Studios

We are looking for creative and technically knowledgeable Senior Lighting Designers to join our Oxfordshire, London and Dubai studios. Excellent written and
spoken English is essential. Candidates should have a portfolio of completed projects (interior and exterior). IT skills must include Microsoft Office, AutoCAD,
InDesign, Photoshop and DIALux. Knowledge of BIM/Revit would be beneficial but not essential.

Duties and responsibilities would include, working within a team environment on all aspects of the lighting design process, from concept to completion,
attending design and site meetings in the UK and overseas and supervising the work of lighting designers within the studio.

Only applicants with professional independent lighting design experience will be considered.

Remuneration will be commensurate with experience and includes bonus opportunities. The Dubai position enjoys a tax free environment subject to personal
taxation circumstances. Please note that our Oxfordshire studio is in a rural location and does require a car.

Lighting Designers - Oxfordshire, London & Dubai Studios

We are currently looking for Lighting Designers to join our Oxfordshire, London and Dubai studios. The role will involve being part of a design team and
providing support in the production of concept presentations, layout drawings and details, specifications etc. with the opportunity to progress within the
Practice. We will consider both graduate level candidates and applicants with some lighting design experience.

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

Remuneration will be commensurate with experience and includes bonus opportunities. The Dubai position enjoys a tax free environment subject to personal
taxation circumstances. Please note that our Oxfordshire studio is in a rural location and does require a car.

For further details about dpa, please refer to our website: www.dpalighting.com
Please email your application letter and CV along with a portfolio of examples of completed projects where you have had a significant contribution, to
Elizabeth Grundy: dpa@dpalighting.com. Please clearly state on your covering email which position/studio you are applying for.

We are looking for new members to join our team.

Our everyday practice includes lighting projects of various scales ranging from sinuously lit facades to custom design of lighting
fixtures and from Lighting Concept till construction phase and we can’t wait to have new talents aboard.
Here below, you can find all the details for applying for 2 positions:

JUNIOR LIGHTING DESIGNER / INTERMEDIATE LIGHTING DESIGNER

REQUIREMENTS WHAT

• Master’s degree in Architecture/ Architectural The candidates will be working on various scales of international
Engineering/ Design and a Master in a field related lighting projects collaborating with a team of experienced
to lighting design. lighting designers from the initial creative phase until the
overall design and documentation process.
• Minimum 3 years’ experience for intermediate lighting
designer applicants. Their tasks based on their role will include the involvement
in the Lighting Concept, thorough research on lighting
• Proficiency in English with good verbal, interpersonal equipment, lighting calculations, production of lighting
and writing skills. French and other languages are welcome. documentation in CAD or Revit, creating and/or evaluating
mockups.
• Proficiency in following software:
Autocad, 3DS Max, Dialux, Revit, Solidworks, Photoshop,
Indesign, Illustrator, Word, Excel, Power Point. WHERE

• Artistic skills of free hand sketching with different Milan, Italy

techniques are highly appreciated. Travel to meetings or construction sites may be required.

• Ability to work in a large multidisciplinary team

HOW TO APPLY
• Organisational and time management skills
job@metislighting.it
• Reliability, tenacity and passion.
Designer HLB’s Corporate Culture and Values – Responsibilities to HLB
initiatives
• Participation in and contribution to procedures and environment
Description that are in the best interest of the firm.
Supports the work of 1 or more team members and displays • Represent the firm in a professional manner.
judgement and independent thinking in the design process. Position is • Participation in Designing Our Future/HLB 10:10 Vision, C2Q
70% designer / 30% project manager. Position can be in any of our initiatives.
HLB offices. Please visit hlblighting.com/careers/ to apply. • Reinforce HLB values – Artistry, Curiosity, Balance, Integrity, Legacy.
• Look for opportunities to collaborate with other HLB offices on
Achieving Results – Project Responsibilities project, DOF, C2Q, business workgroup avenues in a meaningful
• Use critical thinking and discretion in assessing specific project way.
needs and communicating effectively to the project manager.
• Begin to familiarize/learn the process for reviewing monthly fee Requirements
drafts with Project Manager/Associate/Principal. Skill Set
• Begins to understand how to apply authorized scope of work to • Excellent Organizational skills
tasks and meet deadlines. • Proven technical skills appropriate to work area
• Assist in managing agendas, meeting minutes, and regular • Oral and written skills
project status communications to build knowledge in these areas. • Computer programs: Revit, Excel, Word, PowerPoint, Adobe Suite
• Work independently on specific scopes of a project like including Acrobat, Photoshop and InDesign, AutoCAD, AGI or
calculations or documentation. Visual or Elum Tools, Diva, Grasshopper, Ecotect, Radiance,
• Supports the team to produce work efficiently and profitably. Daysim, Rhino, Radiance, Vision - as applicable to their role or
• Assists the project manager in creating labor hour budgets for business group
projects. • Ability to prioritize / time management skills
• Self-motivated and self-directed
Working with Clients – Client Responsibilities • Team player
• Starts to develop good client and/or related business • Motivator
relationships - working well with their equal at other firms • Dependable
• Enhance HLB’s value to the client and promote the firm
• Uses communication tools to manage client expectations Education & Experience
• Bachelor’s degree or above in Lighting Design or Architectural
Working with Teammates and Managers – Management Engineering or Architecture or Interior Design or Theatrical
Responsibilities Lighting or related education and experience
• Exhibit flexibility and cooperation with teammates. • 2 to 4 years’ experience
• Manage own work time and priorities and show ability to also • Certification in Lighting Design (e.g. LC) or certification related
do this with the project team. to their field / degree or endeavoring to obtain it.
• Understand good framework for resolving issues. • LEED BD+C or endeavors to achieve
• Interface among the principals, design/technical staff and • IALD Associate level or above or endeavoring to obtain it.
business team as needed. • Participate in industry related professional organizations locally

We are an equal employment opportunity employer. All qualified
applicants will receive consideration for employment without regard
to race, religion, creed (which includes religious dress and grooming
practices), color, citizenship, national origin, ancestry, physical
disability, mental disability, medical condition, genetic information,
familial and marital status, sex (which includes pregnancy, childbirth,
breastfeeding, and related conditions), gender, gender identity,
gender expression, age, sexual orientation, military or veteran status,
domestic victim status, caregiver status, or any other consideration
made unlawful by federal, state or local laws, ordinances, or
regulations. Horton Lees Brogden Lighting Design takes affirmative
action in support of its policy to and advance in employment
individuals who are minorities, women, protected veterans, and
individuals with disabilities.
Horton Lees Brogden Lighting Design is an internationally recognized
design firm focused on architectural lighting, including electric
lighting and daylighting, for both interior and exterior environments.
We are inspired by the artistry of light and its impact on the natural
and architectural environment. We infuse our core values of artistry,
legacy, curiosity, balance, and integrity into every project. We thrive
with intriguing projects that engage us conceptually and challenge us
technically. We seek to enhance our clients’ experiences and create
a legacy of design that respects its environment and promotes a
better future. Our services are customized to provide the best lighted
environments to meet our clients’ needs.
HLB is a collaborative firm that values flexibility and work/life
balance filled with dynamic people whose enthusiasm for what
we do infuses both our professional and personal lives. We are
driven by an experienced team that is rewarded for its originality,
commitment, and leadership. Our principals are engaged in every
project from concept to commissioning to ensure the clients’ needs
are realized at every step. Our design and technical experts hail
from many parts of the world and form the basis for HLB’s proven
ability to produce outstanding, award-winning designs.
As designers, we promote a positive vision of the future, based
upon the belief that many of the environmental problems we face
are design challenges. We believe a successful project starts with
a collaborative mind-set in support of a common goal: to achieve
energy-effective, high-quality environments for owners through
intelligent lighting design, design that holistically integrates daylight
with supplemental light and controls. Our designers work closely
with owners and architectural teams to optimize the integration and
control of natural and electric lighting for energy-effective designs of
the highest excellence.

If interested, please visit our website to apply - hlblighting.com/careers/

 bucket
list
curated by
#28

“Close your eyes and see.”

Joseph Joubert

Pilasinee Rattarangsi
Rangsi Atelier
What
A moment of closing your eyes (as a short or longer
break) in order to be with yourself again.

Where
Wherever you feel comfortable.

How
Just slowly close your eyes for a few minutes or more.
Bring yourself back to the here and now. Put on an
eye mask, if it helps. There are many ways to pull back
our wandering minds. Closing our eyes and focusing
on a single thing is just one of them.

When
Anytime.

Why
Physically, our eyes are overexposed to computer
and phone screens and also as lighting designers,
additional lighting mock-ups and inspections that
could lead to us damaging our eyes.
Mentally, we continually multitask. Allowing ourselves
to rest at least a few minutes a day would aid the
wellbeing of both lighting designers and everyone
else too. It will help to sharpen perception skills other
than our visual ones. Don’t forget to smile. :)

www.pilasinee.com

146 / 147
 Bath Abbey, UK by Michael Grubb Studio
Winner of the 2021 Best of the Best [d]arc award

COULD YOU BE
A WINNER?
2022 [D]ARC AWARDS NOW OPEN FOR ENTRIES

FOR ALL PROJECTS AND PRODUCTS IN 2022

EARLY BIRD ENTRY DEADLINE 8 AUGUST 2022

VOTED FOR BY THE INTERNATIONAL INDEPENDENT

DESIGNER COMMUNITY

GO TO WWW.DARCAWARDS.COM TO ENTER NOW