Cibap Vocational College, Zwolle, Netherlands
To highlight the creativity of the students inside, fixtures from Acclaim Lighting bring a vibrant wash of light to the exterior of Cibap Vocational College.
The college for creativity in the Netherlands is Cibap Vocational College in Zwolle. Cibap is a creative arts secondary vocational education college that offers creative courses for 1,800 students. Its mission is to help students develop at the very highest level in creative, entrepreneurial and technical fields.
With its ability to equip its students with the skills they need to establish their careers, the creative industry has been one of the fastest growing sectors in the Netherlands for many years. This includes training as a media designer, filmmaker, sign maker, international creative business developer, and many more.
To match the creativity inside of the classrooms, the vocational college wanted to demonstrate its creativity outside of the buildings. From 2009 to 2016, the college’s facilities had undergone various renovation and new construction activities. In 2021, Jan Spoor of DEA Events, located in Kampen, was asked by the college to assist with making all the buildings on the campus connect as one with light.
“The college wanted the lighting to unify the exterior of its buildings,” said Spoor. “To accomplish that task, we needed an exterior lighting system that could provide dynamic, customised colour schemes that would tastefully demonstrate creativity at the highest level.”
Spoor and his team specified Flex Tube Pixel; a flexible, direct view LED strip developed by Acclaim Lighting that features RGB control of every 4.9-inch (125mm) section. Developed for virtually any interior or exterior lighting application, Flex Tube Pixel has an impact-resistant body that can be ordered to length to suit project requirements for customised lighting applications. It is IP68-rated for wet applications, submersible up to three feet, and will perform in temperatures of -40° to 131°F.
Flex Tube provides a wide 134° beam angle, operates off of 24-volt DC power, and is controlled with Pixel Driver 1, Acclaim’s unique DMX to SPI driver. It provides 85 lumens while consuming only 3.65 watts of power per foot.
“Flex Tube Pixel enabled us to develop custom lighting schemes without the college worrying about the long-term performance and the energy costs of the system,” added Spoor.
More than 135 meters of Acclaim Flex Tube Pixel has been mounted on the different outer shapes of the various buildings. Together with Acclaim pixel drivers and APS power supplies, the new lighting system is making a “creative” impression on the community.
Bergen Light Rail, Norway
An extension to Bergen’s Light Rail has seen the opening of seven new stations, including the first underground station for the Norwegian city. The lighting concept for the stations was developed by Light Bureau, which sought to create a safe and fluid ambience.
In November, a new, 9km extension to Bergen’s Light Rail network was opened. Among the seven new stations opened was Haukeland Sjukehus - the first underground light rail station in the Norwegian city.
Alongside 3RW arkitekter and engineers at Sweco, Light Bureau developed the lighting concept for the new stretch of the Light Rail, with a particular focus on the new underground station.
Thea Collett, lighting designer at Light Bureau, told arc about the overall vision for the lighting concept: “Our aim was to create the impression of moving towards a clearing, and the feeling of always moving towards a brighter area, to make sure that one would always feel as if moving towards a safe area. This naturally resulted in the discussion to keep the escalators more dimmed, for example.”
All vertical surfaces that the travellers move towards have been treated with light, to make sure that people always move towards a bright and safe place. The main goal was to create a project where lighting and architecture work seamlessly towards a common goal of creating the right atmosphere.
“We believe that the magic happens when we work as an interdisciplinary team; this project is a great example of that. We participated in several workshops together with the architects and electrical consultants at an early stage, shaping the project jointly.”
As the Light Rail in Bergen moves along an unlit track, Collett explained that the overall concept for the lighting was to create an experience like arriving at a clearing. This was particularly prevalent within the underground Haukeland Sjukehus station, where the designers wanted to create a safe journey from the platform and out into the daylight.
To bring this concept to life, the lighting design team carried out a careful processing of the visual and technical qualities of all areas of the station, to make sure the traveller had the desired experience of moving towards a clearing.
“From the platform area, you should experience this as a clearing as you move towards the outside,” continued Collett. “The contact with the exterior, and the daylight entering the shaft through the glass façade at the entrance of the building, is of great essence for the architecture. The task was to make sure that daylight enters as far into the building as possible.
“We adapted the lighting levels and colour temperatures within all zones, to make sure the contrast between the areas was right. We used tunable white and RGBW luminaires in some areas to make sure that we have the possibility to tune the light to the correct temperature.”
The use of tunable white and RGBW lighting was integral in creating the right ambience throughout the stations, particularly given the simplistic material finishes and abundance of glass.
Collett continued: “We had to find the right balance between what surfaces to prioritise and emphasise, to set the mood and rhythm of the space. The station is designed in primarily robust and simple materials, and we chose to emphasise and add high light levels to the materials and surfaces that define the room.
“For instance, on the platform, the white and curved ceiling reflects both cold and warm white light. We also chose to illuminate the stone floor with high lux levels. The end walls, however, are left completely unlit, since they consist mainly of glass and open fire doors, leading to the lift and escalators.”
The escalator shaft at the underground station proved to be one of the most challenging aspects of the project, particularly given the lack of mounting options for luminaires. “The main shaft area with several escalators and lifts consists of mainly concrete and glass,” said Collett. “The area is 40-metres deep, and there are very few areas to mount lighting. Because of this, the room has no lighting, aside from some vertical lighting on the very high walls lighting the shaft itself, and lighting in the escalator. We did not make use of traditional wall mounted or ceiling mounted luminaires. In the design process, we used light calculations to make sure the journey through this room would appear as bright as we wanted it.”
Elsewhere, the onus on safety meant that there were several further criteria for the lighting to fulfil, as Collett continued: “All material used in the station needed to be within a certain fire certification. This gave us some limitations on how to create a glowing expression from the glass in front of the lift. We wanted to add a layer of side lit plexiglass, but this proved to be impossible due to fire restrictions. Our plan B was to sandblast or frost parts of the glass in front of the lift so that it catches some of the light from inside the lift shaft. This became a successful solution.”
In the lower concourse areas, where natural light was lacking, the artificial light therefore became an active wayfinding tool, designed in a way that it would “move people in the right direction”, guiding travellers to and from the platform and the naturally lit escalator shaft.
“Lighting is used very actively as a wayfinding tool, as the traveller is always moving towards the brighter area. In any project, we deliberately use light as a tool to move people in the right direction, to add the right atmosphere, and to facilitate the necessary functions,” Collett explained.
“From a secondary entry point of the station, travellers must pass through a 100-metre-long corridor before entering the platform area. In this area we deliberately designed unevenness in the lighting, to make it easier for the traveller to read the distance they move through. Just like the numbers and lines on a ruler, both the architecture and the lighting create a rhythm that helps the traveller to read the room intuitively.”
Throughout the lower levels, and particularly on the 100-metre-long concourse, Light Bureau opted for a mixture of direct and indirect lighting, which contributes towards a brighter and more pleasing environment for travellers passing through.
“In the corridor between the secondary entry point and the platform area, we added high light levels to the curved ceilings and the floor tiles,” Collett continued. “The walls are left completely dark. This contrast makes it easier to read and understand the geometry. The indirect and integrated solutions make it possible for the materials and the geometry to stand out without barriers from visible luminaires.
“Indirect solutions allowed us to emphasise the different surfaces and materials without the obstacle of glaring luminaires. Our eyes will always be attracted by brighter areas in our field of vision. When the brightest area is our destination or our path, instead of a luminaire, this allows for a more natural orientation through a space.”
To that end, Collett is satisfied with the finished lighting scheme, and particularly how it sits within the wider architectural design of the stations. She concluded: “We are very happy to see how the lighting has become an integrated part of the architecture.
“We think that this is a great example of interdisciplinary teamwork, and we are proud of the result.”
Elizabeth Line, UK
Officially opened in May 2022, Crossrail’s Elizabeth Line is the largest new infrastructure project in Europe, spanning 42km. Intended to be accessible and inviting, the sub-surface station design features a delicate, indirect lighting scheme, designed by Equation.
Spanning across 42km and six stations in central London, the newly opened Elizabeth Line has changed the game for underground station design.
The £14.8bn Crossrail venture, connecting east and west London, is the largest new infrastructure project in Europe. As part of this, the new stations were designed to be calm, safe, spacious, and accessible, creating a pleasant environment for London’s inner-city commuters. While the above ground stations and their surroundings are designed to respond to the local context, the sub-surface station design has a consistency and familiarity from end-to-end of the line, characterised by its gentle curves and soft, indirect lighting.
Coming from a public tender originally launched in 2009, the line-wide architectural components design was led by a consortium including Grimshaw Architects, Atkins, Maynard, as signage and wayfinding consultants, and Equation Lighting Design. The scope of this line-wide design, which was implemented across all stations, included the escalator tunnel, the lower concourse, cross passages, and platforms.
“An early inspiration was the simple, elegant and functional design of the Piccadilly and Northern Line underground stations,” said Keith Miller, Director at Equation. “In the first half of the 20th century, London Transport underwent a period of radical change under the stewardship of Managing Director Frank Pick. Modernist architect Charles Holden’s 1920s and 1930s station designs and his motto of ‘when in doubt, leave it out’ informed the development of the sub-surface station architecture for Crossrail.
“In those old underground stations, there was lots of indirect lighting, they were very design-led and minimalistic, with a slight Art Deco feel to them, that was the inspiration for the project.
“Grimshaw took a rigorous approach to the design, considering aesthetics and functionality, maintenance and sustainability when specifying materials and finishes. The reason why there are highly perforated surfaces along the walls and ceiling is to optimise the acoustic properties of the cladding. The soft rounded corners of the cladding enhance visibility as passengers approach a corner. And so, with lighting, we were part of a coordinated solution, with all components fully integrated to create an innovative, functional, cost-effective and sustainable set of products.
“We were also interested in creating a visual language of large luminous surfaces. On the platforms, rather than pursue a typical downlighting solution, we integrated lighting into the platform edge screen – creating a visually continuous luminous panel extending for 250-metres along the length of each platform. The lighting provides a soft ambient light to the space, which enhances the architectural design. It’s not at all glary. The panels have a controlled, consistent surface brightness. On the escalator tunnels, the lighting is concealed at low level, which creates an elevated feel to the space.”
The soft, indirect lighting was part of an overall goal to create a more inclusive environment for all passengers, as Miller explained: “We wanted to reveal the architecture to create a comfortable space that was legible and doesn’t feel gloomy.
“We even went to the extent of consulting specialists at University College London and Ophthalmologists at the City University about how partially sighted people see, what the issues are for them, trying to reinforce the principles of design for equal access rather than taking things at face value.”
With the general design spanning across six different stations, each with their own design team and separate tender, Miller explained the complexities of coordinating the overall principles across each site. “We made our design work as a generic station, and then the station design teams took that on for their site-specific work. For example, Tottenham Court Road has a curved platform, while Paddington has got a very long underground concourse, so the design teams there adapted the generic design to their station, following our principles.
“The idea was that for passengers, as you arrive at each station the tunnelled spaces have a consistent architectural design, until you get above ground, and then it’s a site-specific and unique station design that responds to the local context.”
One of the ways that Equation implemented the indirect lighting was through a series of custom-made “totems” that run along the centre of the lower concourses.
The totems incorporate various facilities such as signage and speakers, as well Future Designs’ Ikon uplighters. Intended to shine light onto the ceiling, which is then reflected back to the floor, Future Designs was approached by Crossrail to develop a custom luminaire that would fit into pre-existing dimensions of the totems. As an uplighter, one of the biggest challenges was heat dissipation, however the design of the Ikon allowed it to act as a reliable and effective heatsink, drawing heat away from the mechanics and regulating the device’s temperature.
The brand developed Ikon Emergency luminaires to be incorporated into the totems as well. These were designed to automatically illuminate in the event of a power failure, guiding passengers to safety. The design features high and low level lights mounted on the sides of wayfinding totems, and vertical luminaires mounted on the front faces of the totems to spread light in all directions and throw the light across a large distance on the floors - a particular challenge for Future Designs, as the positioning and spacing of the totems had already been set before they were brought on board to design the luminaires.
Future Designs also developed custom Plinth luminaires for the escalator tunnels, bringing a delicate glare-free uplighting to the space. Located within the deck area between each escalator, the fixtures are designed to diminish visual glare to passengers, preventing direct view of the LED source while providing a balanced light.
Elsewhere, further illumination in the Elizabeth Line’s cross passages came from Designed Architectural Lighting (DAL), who integrated luminaires within the tunnel construction and architectural detail. This lighting system incorporates the cable management system, with panels for speakers, CCTV and antennae running alongside the recessed, linear LED luminaires.
Throughout the sub-surface levels of the Elizabeth Line, one of the key concepts for the lighting came through the smart use of colour temperature in differentiating ‘zones’. Miller explained: “We classified the underground spaces as being either ‘slow’ wayfinding spaces or ‘fast’ transition spaces. If you’re travelling down the escalator, it’s about moving from A to B quickly, seeing where you’re heading and moving in that direction. These spaces are lit in a cool, 5000K light.
“Then the other spaces, the ‘slow’ wayfinding spaces, are lit in a warm, 3000K light. When you’re in these spaces you can pause and reflect, while you’re waiting for a train on the platform or when you’re in the lower concourse, deciding which way to go. We wanted the transition between wayfinding and transition spaces to have a visible difference in terms of colour temperature. We thought that going from 3000K to 4000K was too small a variation that would perhaps look like it was a mistake, so by going from 3000K to 5000K, it was more obviously intentional. Whether people notice it when they move through the space or not, we don’t know, but we thought that subconsciously, it would influence users.”
For such a large-scale infrastructure project in the centre of London, Miller explained that there were a number of stakeholders involved, which impacted on the way that they approached the lighting design, when compared to a “typical” private client.
“The whole project was very evidence-based. For everything that the team wanted to achieve, we had had to set the scene, rationalise the objectives, demonstrate that we’re moving in the correct direction, we constantly had to provide evidence that we were going to fulfil the requirements,” he said.
“There was a rigorous design process, but all the design issues were ironed out at the design stage; we went through peer reviews, we had to present to London Underground. Our immediate client Julian Robinson, Head of Architecture at Crossrail, was very supportive in terms of having a clear vision for the project, and he steered the team in the right direction right through to completion.”
One area where Equation had to be more assertive with its vision for the lighting though, was with some of the technical specifications in the early stages of the project. “At the beginning of the project in 2009, London Underground wanted to stick with tried and tested fluorescent light sources. It was quite a challenge to move confidently forward with only LED light sources in some ground-breaking custom luminaire designs envisaging what it should be possible to achieve ten years in the future,” Miller explained.
“We had to take the client on a journey and say, ‘this is the nascent LED technology’, and every step of the way prove to stakeholders that what we were saying could be verified.”
After convincing the client that LEDs were the correct way forward, Miller continued that the next hurdle to overcome was “proving that the technical design could work”. Through a whole prototyping phase, the client had a contractor in a secret location in Leighton Buzzard, Bedfordshire, where the sub-surface station environment and all the architectural components were being prototyped. The prototype stage evolved from visual mock-ups of the station environment like stage sets, through to the fabrication and testing of full-size cladding, seating, lighting and signage elements. These were developed as reference points for Crossrail to illustrate how the design could be manufactured and to iron out any issues and design details as the scheme progressed.
“The C100 team would design something, for example the totem uplight, and it went through a number of iterations – a visual mock-up first, then a real prototype luminaire. We went out to market and commissioned UK manufacturers to build full size prototype luminaires, and these lived in the warehouse, where all project stakeholders could collectively review the design and refine the details. Eventually the station contractors took everything on board for the final designs for each station. Gradually the entire process was de-risked.”
What is evident when travelling along the Elizabeth Line is how different it feels to other lines along the London Underground network, with the lighting and wider architectural design contributing to a pleasant travelling experience.
“Passenger safety and the passenger experience were first and foremost,” said Miller. “How people experience the railway, what they see and creating an integrated design. With our scope, and with Grimshaw’s scope, it was all about working together to get everything looking consistent throughout the sub-surface station environments, it’s all finely detailed and deliberate.”
As the final station on the line finally opened in late October, Miller is hoping that the Elizabeth Line will set the standard for London’s Underground network going forward: “I think it sets a clear benchmark in terms of passenger experience. It’s fresh, bright, it’s a comfortable environment for all users. The whole user experience has been well-considered from concept to execution. From a lighting point of view, it creates legible spaces and it’s easy to navigate, so it has fulfilled the brief. It looks good as well, and it’s a nice place to be, that’s the key thing.”
Iris Molendijk
Recognised in the inaugural Silhouette Awards last year, Iris Molendijk has quickly made a name for herself in the lighting design community. Here, she tells arc about her fascinating, concepual Master’s thesis, and her career’s rapid ascent.
hile many burgeoning lighting designers will use their Master’s theses as an opportunity to apply theory and research to real-world applications, Sweden-based Dutch designer Iris Molendijk has instead gone down a more conceptual route, looking at the ways in which light can merge reality and imagination, the conscious and the subconscious.
Inspired by Gaston Bachelard’s book “The Poetics of Space”, in which he focuses on the personal and emotional response to buildings and of the phenomenon of daydreaming; and also by the research of Wolfgang Metzger, Molendijk wanted to investigate how light can blur the lines between the real world and the imaginary.
“In his book, Bachelard said ‘Daydream transports the dreamer outside the immediate world to a world that bears the mark of infinity’. I wanted to combine this abstract way of thinking, daydreaming – how do we observe these dreams? Can this also happen in an environment around us? This inspired me to look into the options of building an installation that would trigger people,” she told arc.
“In my opinion with lighting design, you can create scenarios that are not real or not there. This is the same with a dream – it seems real, but it is not. Or is it?
“Dreaming is the main function of our brain. During the night, our mind is free to drift off but when we are awake, the mind has a material frame that makes us perceive the world around us. According to research, approximately 80% of our perception of the environment is through sight. We often think that what we see stops at our eyes, but human perception is an active information-seeking process that both includes the eye and the brain, some is conscious and some unconscious, the brain filters the information that is worth our attention. Humans need to understand the nature and structure of environment. Based on this understanding, we evaluate the space.”
The environment that we look at, Molendijk explained, can be categorised into two visual fields: a structured and unstructured environment. A structured visual field shows a clear hierarchy in the space with clear focal points, contrast and depth; while an unstructured environment misses contrast, depth and focal points.
“When the environment is not structured, our perception is affected and the image given by our eyes is interpreted differently in the brain. Our brain is not able to structure the complete space and will fill in the parts that are missing,” Molendijk continued. “The feeling of not being able to focus on a reference point often results in a feeling of disorientation. Our mind then takes over and creates thoughts and imaginations.
“In the 1930s, psychologist Wolfgang Metzger found out through an experiment that when subjects gazed into an unstructured or homogenous visual field, with no stimuli, they started hallucinating. This was called the Ganzfield effect. Participants referred to being in an unreal, almost dreamlike world. The lack of structure seen during the Ganzfield effect stimulates the brain to look inwards instead of focusing on external stimuli. Since it is our brain that is involved in these hallucinations, and our brain uses our past experiences, this experience might be different for everyone.”
Molendijk’s thesis, completed at Stockholm’s KTH, used the Ganzfield effect as an outset to “investigate loss of contrast, depth and perspective, to investigate the thin line between reality and imagination”. To do this, she looked at the possibility of adding a light stimulus over time to shift between reality and an imaginary state of mind to make people aware of their visual abilities.
“Within the experiment, I wanted to trigger people’s minds to show how light can change perception, since most of us take what we see for granted. But is everything we see real, or are some things illusions?”
For the experiment, Molendijk created a tunnel that simulated an unstructured visual field. The tunnel was homogeneously lit, and at five-minute intervals, a light stimulus was given, illuminating the end of the tunnel. Participants were asked to sit in the tunnel and look straight towards the end into the unstructured visual field.
The results found that when exposed to an unstructured visual field, focusing became hard. The whole tunnel looked the same, and the mind could not find any visual clues in the space, resulting in a field where participants had trouble understanding the space in terms of depth and contrast, with some even starting to hallucinate.
“When a light stimulus was given, the space became clear again, it gave the participants structure, and they could interpret the surroundings again. The light stimulus could be seen as a bridge between our imagination and reality.”
Although her research appears to be very conceptual, Molendijk feels that there are some practical takeaways that can be applied to everyday design practices. “Our environment is always connected to our mind, and the other way around,” she said. “The Ganzfield effect is something that might be far away from our daily reality, however it does show the importance of focal points, light stimuli, and a light stimulus over time.
“When creating lighting strategies, the effects of light to its surroundings and its changes should always be considered. Creating a lighting strategy with focal points in the space, so that there is contrast and depth in the space, results in the mind being able to structure the environment.
“My thesis was also about awareness; it highlights how amazing our brain is. We always think that we understand our surrounding, but our brain is so much more complex and is often filling in information for us. Being aware of that made me look at the world with a new view. I started questioning my surroundings more often; observing is one of the most important skills to have as a designer, knowing how a space is built up and where you can make a change.”
Before she was breaking down the boundaries between the real and the imaginary, Molendijk first discovered the world of lighting design while studying Interior Design at the Jan des Bouvrie Academy in the Netherlands. Here, during her first semester, she had a course about materiality, and her teacher shared a story about her work in a New York theatre. “Filling a black box with light fascinated me, and I was inspired to dive more into lighting,” she recalled.
“During my Bachelor’s degree, I tried to look for the limits, and tried to get the most out of it – only working in interior design was not enough. I realised that there was a bigger picture than just the interior or architecture. With light, I can create that connection. You can create an amazing interior design, but if you forget about the lighting, no one will see your hard work on the interior. The same applies for architecture, if you create amazing forms and shapes, but these stand in the shadow, no one will notice them. Working with lighting, you help to highlight parts of the design. You make an existing design even better.”
Keen to pursue this interest in lighting, after her Bachelor’s degree, Molendijk enrolled in evening courses in lighting design at the Lighting Design Academy, led by Berry van Egten. It was here, she said, she found her passion. “We had classes once a week, and every week I looked forward to the next class. There were visits to manufacturers who showed their products, lectures about the physics of light, and design sessions, culminating in our own practical lighting projects. After this, I knew that I wanted to create more lighting designs and continue working in a practical way.”
From here, things began to snowball for the Dutch designer. Only a few weeks after enrolling in the Lighting Design Academy, Molendijk was given the opportunity to start working as a lighting designer at Beersnielsen in Rotterdam. While working here, she joined the IALD lighting design workshop for Lights in Alingsås, where she got to work with Johan Röklander, and met fellow students who were completing their Master’s at KTH. “That showed me my next goal,” she continued.
“I had always fancied living in Sweden, so when I heard that I got accepted for the Master’s degree in Architectural Lighting Design at KTH, I was more than excited. When I started studying in Sweden, I knew from the first day that I did not want to leave the country – a feeling of coming home overwhelmed me when I arrived at the airport, and when I got to KTH, I had the feeling that I had arrived at Hogwarts.
“When I was younger, I always thought of a Master’s degree as reading for hours through thick books and writing articles about difficult topics. Something that I learned at KTH is that light cannot be taught through books. Light is a medium that you need to experience, you need to surround yourself with it, place yourself in a room and observe where the light is coming from.”
After her studies, Molendijk got a job as a research and teaching assistant at KTH, and got the opportunity to join the Erasmus+ Strategic Partnership project Light4Health – a cross-disciplinary course on the intersection of lighting design and health research. Keen to continue learning and “studying lighting on a more technical level”, she joined the Swedish University of Applied Science. “Here I learned more about electrical engineering, programs like MagiCad and the Swedish way of working with light,” she added.
Through her further studies, and her teaching assistant role at KTH, Molendijk realised the different between working in practice and working in research. “I loved being surrounded by students and helping them finding their signatures as designers and helping the projects progress. But I also missed the hands-on creative process,” she said.
“Through one of my classmates at the University of Applied Science, I got the opportunity to start working for Helmet Experience Design, my current position.”
Based in Stockholm, Helmet Experience Design is a small, three-person team led by Ola Carlsson-Fredén and Alexandra Manson, who Molendijk said “believed in me and gave me the opportunity to join the studio”.
“Since we are only three people, I took on a lot of responsibility right from the beginning. We have only worked together since January of this year, but I already have the feeling that I have grown a lot, both professionally and personally.
“At Helmet, the work that we do is really diverse, but in every project we focus on the experience that the end user will have. We create visual experiences that make people see, feel and interact. Every project has a clear expression and a strong identity.”
One particular project that stands out for Molendijk is Helmet’s Circular Concept; working together with Rebel Light, the studio has created a sustainable office solution for office spaces. “Helmet wants to contribute to a more sustainable future and working with circular products is a first step in the right direction,” she explained.
“Together with Rebel Light, we designed a ‘toolbox’ that creates a well-balanced, inspiring office space with fixtures that can be re-used again. Our design solution also works with as few fixtures as possible, and still creates the right light environment needed for an ergonomic workspace.
“Clients often think that lighting design is only for the high-end market and often go with a cheaper option if their budget is low, but with this model, we want to show that a good lighting design can be for everyone, and at the same time be more sustainable.”
As she was starting out at Helmet Experience Design, Molendijk was recognised in the inaugural Silhouette Awards, whose winners were announced at the end of January. Looking back on the announcement, she said that it “felt really special” to be recognised.
“I was so surprised when I saw my name during the award ceremony, for a second I did not even realise that it was me,” she recalled.
“When I applied, I was working at KTH and I started to realise that I wanted to focus more on working in practice, but I had no idea how I would be able to combine the two fields, especially since I felt that there was such a big gap between them. When I saw an advertisement for the Silhouette Awards, it felt like something I should do.”
Through the Silhouette Awards, Molendijk was partnered with mentor Rouzana Kopti – a Dubai-based freelance lighting designer who specialises in architectural lighting and landscape design. Over the course of the six-month mentorship programme, Molendijk explained how Kopti both inspired and helped her progress.
“When we started our journey together, we did not know each other, but after our first meeting, where we shared our journeys so far, I could feel a strong connection. Rouzana had been in similar situations and made similar choices in life,” she said.
“Something that I really appreciated was her determination. She knew what she wanted to do during the programme, and she made that happen. She also inspired me in the way she stands in life – her philosophy and eagerness to learn more and get everything out of a situation or a project.
“During the programme, Rouzana really pushed me to take everything out of it. She told me that you have to keep working, and while working enjoy every minute of it. When putting so much effort into something you enjoy, you will get a lot of energy out of it again too.
“We also had great help from our sponsor LEDFlex. They were really involved during the whole journey as well. Through them, the IALD and the Silhouette Awards team, I was able to present at Light+Building, an amazing experience that I could only have dreamed about before.
“The official programme has now ended, but Rouzana and I are still in contact with each other. The Silhouette Awards is just the beginning of a great collaboration, and more importantly a great friendship. I can see a collaboration happening at some point, combining our skills, and creating a project together.”
Her partnership with Kopti is just one example of a mentor relationship that Molendijk has had throughout her career, and she believes that such opportunities are essential in helping young, emerging designers find their feet.
She said: “When studying, they tell you that it will be easy to get a job, but when you start applying, you come across vacancies that ask for a graduate with three or more years of experience and an endless list of programs that you should know. The transition between being a student and trying to find a job, is huge. Mentorship programmes are the perfect solution to help decrease this gap.
“As you grow up, you are inspired by classmates, teachers, friends, parents, social media, and through all of these you create your own personality and preferences. This is something a mentor can help with too. During your studies, you’re exposed to so many possibilities and it’s up to you in what direction you want to continue. A mentor can discuss these options with you, and also hold a mirror up to you to make you reflect. These reflections mend so much.
“But mentorship does not need to be in the form of a programme. Showing someone that you are there to help is also a great help. When I applied at Beersnielsen, I had only studied lighting design for two months. I told them my concerns and they quickly told me not to worry - they had years of experience and would help me to gain more myself. Giving someone that security of knowing that it will be alright shows great mentorship.
“I hope that the Silhouette Awards will be a programme that will grow - it shows the community feeling in our community, The lighting industry really feels like a big family, and a programme like the Silhouette Awards only highlights that feeling. People are willing to help one another, and I hope that we can continue with these initiatives and work together to create good lighting for everyone.”
As for herself, Molendijk has a number of exciting plans for the future, but primarily she hopes to “spread the importance of good lighting and how light influences us”.
“I find it so fascinating that everyone is constantly surrounded by light, daylight during the day and artificial light by night, but a lot of people never think about it, don’t know the risks about bad lighting and the importance of good lighting. This is something that I want to change, I want to inform people, inspire them and spread the word about lighting.
“During my time as a research assistant and as a practitioner, I have noticed that while working in research, the day-to-day problems are often forgotten about, and while working in a practice there is hardly any time for research. I hope to bridge that gap and find a way for designers to easily combine research and show how important research is.”
Philosophising further on what she hopes to bring to the lighting community, Molendijk concluded: “It’s quite a vague and abstract thought, but I hope that in 50 years I can look back at my career and feel satisfied that I have connected with a lot of people who have seen the importance of good lighting, and continued to share their knowledge. I hope that we can connect and grow a strong network that will focus on light experiences, sustainable lighting solutions, and a beautifully lit world that will be there for our next generation.”
www.wearehelmet.com
www.silhouetteawards.com
Mark Vowles & Danish Sayed
As Nulty continues its international expansion with the opening of a new studio in Pune, India, arc sits down with Mark Vowles, Managing Director, and Danish Sayed, Technical Design Manager, at Nulty, to talk about the move and what it will mean for the studio as a whole.
How did Nulty Pune come about?
Mark Vowles (MV): Branching out into India was always part of our plan but the idea gained momentum after the launch of our Bangkok studio. Setting up a base in Thailand allowed us to lay the foundations by developing relationships with clients based in Southeast Asia. By gradually and deliberately building up our profile in this way, we were able to widen our network, strengthen our knowledge and look further afield to countries like India. It also meant that by the time we came around to launching the Pune studio, we already had a number of Indian projects under our belt. We started out with a team of five lighting designers and have already ramped this up to nine to meet demand for our services. It’s a positive step as we look to grow the studio’s profile and make the most of the exciting opportunities that an emerging market like India presents.
Why did you choose Pune as the location?
Danish Sayed (DS): Geographically, Pune sits between financial cities such as Mumbai and Bangalore. From a business point of view, it’s home to manufacturing firms, tech companies and a large network of architectural engineering clients. All of this means we’re well-placed to respond to India’s thriving construction industry. Pune is also a university city and has a pool of talent that we can tap into when we’re looking to recruit and develop young designers. Ultimately, it’s a great place to live and has a more laid-back feel to it, which enables us to offer our team the right level of work-life balance.
What benefit will the new studio bring to Nulty as a whole?
MV: It’s always a huge advantage to have a local office, because projects can move pretty fast once they get the go ahead. Having a studio on the ground enables us to respond quickly and adapt to the needs of the market. It’s also significant on a global level, because we’re always looking to push ourselves as a practice and grow as designers. Expansion into India helps us hugely in this respect because the industry is producing some incredible architectural projects, particularly in the commercial workplace, hospitality and retail sectors where we have a lot of experience. There’s a real spirit of innovation from what we’ve seen.
How does it fit within the wider Nulty brand?
DS: With all of our studios we’re focused on how we offer clients localised, one-to-one support, backed up with the wider knowledge and creativity of the Nulty brand. Pune is no different. India is a vast country where every state comes with its own architectural and cultural considerations, so we’re taking the time to learn about the different areas
to gain a better understanding of the country as a whole. Beyond this, the Pune team will work in line with the wider Nulty team to explore how we use light in relation to key issues such as sustainability, wellness and technology.
With a growth plan to expand the studio already in place, are you confident that it will be a success?
MV: It’s always a risk opening up a studio in a new part of the world, which is why we got a feel for the local market and gauged demand for our services before we launched. As a practice, we’re committed to producing inspirational lighting schemes that put people at the heart of the design. It’s clear to us that the Indian market is already on board with this way of thinking, so we feel optimistic that the industry is more than ready for Nulty.
What sort of collaboration will there be between the Pune office and the London, Bangkok and Dubai studios?
MV: Nulty has one global vision, mission and culture. All of our teams are responsive to this and do everything they can to maintain a clear, consistent dialogue between studios. There’s a great synergy between the work we’re doing in the Middle East and Southeast Asia, particularly in the heritage, religious building and public realm sphere. On a more overarching level, we’re constantly sharing ideas on the issues that are important to us as a practice. Our London team is currently working on a handful of highly ambitious schemes with a core focus on carbon neutrality, so we’re sharing insights to help the entire company adopt more sustainable working practices.
What is next both for the Pune office, and for Nulty as a whole?
MV: India is a large and emerging market that we’ve had limited exposure to until now. Our aim is to give the Pune team time to gel, as we use our lighting design experience and brand values to gain a strong foothold in the market. For Nulty globally, we see the next year as a period of consolidation while we give our studios space to mature and the scope to work on exciting, market-leading projects.
Good at something? Or good as a person?
Designers Mind contributor Martina Frattura examines the separation between the person and their persona, and the ability to look at the “bigger picture”.
When Designers Mind held its regular conversations on social media platform, Clubhouse, there was a recurring theme of being able to have a holistic approach to our days; or in other words, how important it is to have a perception of ourselves that is not split between the various roles that we have, that needs to be held together.
It is often common to have the feeling of ‘wearing a different hat’ based on the context and the people around us, calibrating some of our characteristics with the notion of better integration as a result. Aside from the etiquette that is rightly required in some situations, the possibility of embracing all our nuances and not having to impose certain behaviours on ourselves would seem to be the key to lasting wellbeing.
But then, why do we do it? Why do we find it necessary to retune our behaviour every time we walk through a door?
Good at something
The answer is probably linked to the perception of “professionalism”.
If we wanted to draw a valid guideline for all types of work, professionalism could be defined as the quality of performing one’s role in the best possible way. Expertise in one’s field and effective communication are certainly two of the main attributes of a professional, who continues to increase their knowledge over the years.
Above all, a professional is a person with a strong work ethic.
Obviously, all of these definitions are only suitable outside the private context, but considering that everything is based on the exchange with other people, the clear separation of roles is shortened in the presence of transversal skills.
Social skills, typically teamwork, problem solving, communication, adaptability, critical thinking, time management, and interpersonal skills, are considered essential for the final assessment in the work environment; but being fundamental for every interpersonal relationship, they act as a bridge between the two worlds.
If on the one hand, we have the capacity for a specific action, on the other there are the psychological, relational, and communicative skills that are the basis of social interaction.
The difference between these is of great scientific interest both as different applications to different tasks, and because they are connected to different areas of the brain for their processing.
Good as a person
One of the most important social skills is the ability to empathise, and in some cases even adopting another person’s point of view.
Understanding what others want, in addition to being a specifically human trait (according to studies at Caltech with Chimpanzees, for example), is a bridge to better relationship networks – being sensitive to ourselves and to others without having feelings and thoughts fully communicated explicitly. In the world of work, and beyond, this specific skill is transformed into a magnifying glass for factors such as understanding, validation, and listening, which, again, are the foundations of any interpersonal relationship in any field.
So, does feeding our more creative or logical side with activities that implement soft skills help us broaden our point of view? Is empathy the key?
Empathy could be considered one of the main characteristics with which we label “a good person”, but considering essential any transversal competence is a limit because not everyone can have access to the same experiences and therefore develop particular areas. The risk, in this case, would be a very non-inclusive environment.
The bigger picture
Then the right question could be, how do you feel when you watch someone behave selflessly?
In neuroscience, among the different experimental programmes that analyse rather complex psychological problems, there is the one that studies the feeling that people get when they observe someone else engaged in something very altruistic.
At the University of Cambridge, particularly the Body, Mind, and Behaviour Laboratory, they study brain activation following exposure to what they call a “moral beauty” event.
At a neuronal level, there is an interplay, much like the one that occurs when you start referencing the big picture instead of being attached to your current concerns. That is, when we experience a feeling of moral uplift, our brains respond very differently than when we only appreciate the other person’s share of abilities.
It is linked to the sphere of abstract thought, of wonder, that we would not normally see react as a function of a purely working discourse.
The answer to the question above would be, then, being uplifted and inspired. What can be called an exceptional act of moral beauty towards another person actually leads to the direct benefit of feeling inspired to do the same.
Linguistic relativity
Whether it’s being aware of a co-worker’s emotional state, or interacting and sharing your emotions, or actively supporting someone, it’s probably not a speech of specific skill or exponential empathy that makes us good people. In fact, that’s not even the ultimate goal.
For years we have been making our own definitions inherited from the past that separate the private sphere from the professional one.
However, whether it’s in a work environment or not, our days are dictated by our exchanges with others, which often makes us an inspiration to someone.
The semantics of each language constitutes a reference system for human thought and behaviour. That’s why stepping away from narrow scopes might help us to become the only role model needed: ourselves.
WEEE - A leaky business or key component to circular economy?
Dave Hollingsbee of Stoane Lighting speaks to Nigel Harvey from Recolight, and Stewart Price of Lumicom about the pros and cons of the WEEE Directive.
At the time of writing in the UK there are approximately 115 AATF’s (Approved Authorised Treatment Facilities – companies licenced to carry out teardown, shredding, separation and processing work) and 27 registered PCSs (Producer Compliance Schemes – companies responsible for collection of WEEE on behalf of their producer members). Two of these schemes (Recolight and Lumicom) are the best known in the UK lighting arena, both have contributed to this article.
Since February 2007, the WEEE (Waste from Electrical and Electronic Equipment) Directive has been law in the UK, undergoing substantial changes in 2013. WEEE collection, recycling and recovery targets have been set on an annual basis for household since 2014. For example, in 2022, PCSs were collectively assigned a household WEEE collection target of 4,145 tonnes (lamps) and 5,992 tonnes (luminaires). Those targets were then split among PCSs in accordance with the aggregated market share of their household members.
With improving processing technologies at AATFs, we are seeing impressive recycling and recovery figures. For example, this data shows what materials can be successfully recovered from a batch of waste luminaires:
Recycling is a positive intervention but is not the best solution
Why are we so enthusiastic about remanufacture The data in the above table [fig 1] demonstrates one of the shortcomings of recycling, which is vital to acknowledge if our industry is to fully embrace a circular economy: recycling erodes value. The batch of waste luminaires is converted back into various basic materials – such as metals. Those can be successfully returned into the raw materials supply chain. But all the embedded carbon associated with the manufacture of the original products is lost.
What’s more, a significant proportion – in this case 14.5% – is diverted to “waste to energy”. It is effectively incinerated to produce energy – but in the process, releases carbon. Arguably displacing the equivalent extraction of virgin fossil fuel but nonetheless still contributing to the climate crisis.
The waste hierarchy [fig 2] quite rightly puts recycling below prevention, repair, and reuse. To drive improved sustainability in the lighting sector, we must get much better at applying the waste hierarchy. That means prioritising repair and reuse above recycling. Historically in our industry, we have regarded getting waste recycled as good enough. We need to change that mentality.
So, assuming a fixture has reached a point where re-use, repair or remanufacture are not viable, what does recycling look like?
Significant volumes of higher grade, higher value material are now being responsibly recovered. Dangerous compounds such as the Persistent Organic Pollutants (e.g. brominated flame retardants) and mercury are responsibly separated and kept out of waste streams, water tables etc.
Techniques and hardware are continually improving, similarly the demand for recovered material evolves. Coined in the 1980s the expression “Urban Mining” is now a household term. There is demand for the recovered elements. A recent facility tour of Waste Expert’s Huddersfield facility organised by The Society of Light and Lighting (SLL) offered invaluable first-hand insight to a group of the society members of what the process looks like.
At this stage it has to be noted that research has shown that >165,000 tonnes of household WEEE generated annually never makes it into a registered WEEE treatment facility, and instead is disposed of with general waste. Clearly awareness and infrastructure investment is still needed.
Household and dual use lighting specific figures: the lamps collection rate is quite high – in 2021 around 47% of lamps were collected and recycled. The government is likely to consult on implementing kerbside collection of WEEE for households.
But for non-household fittings, that figure was a lot lower. Only around 6.3% was returned through the PCS network. The fate of the rest is unclear, but it was probably recycled as scrap metal. That is suboptimal, and may mean that some of the hazardous materials were not properly separated and treated.
What WEEE handling provision did you see on site at your last renovation project?
Going back a stage
That is waste capture. But what about perfectly functional kit that is no longer needed by a client/venue? Over recent years we have seen a proliferation of new approaches: Lighting as a Service (LaaS), Buy-back schemes, third party company and OEM initiated remanufacturing offerings.
To properly understand the realities of what happens to redundant lighting equipment, we must look at the options faced on site. We know just what WEEE is and what it is not. There is an obvious challenge to capture more of the missing waste into the correct WEEE channels, but what about the perfectly good equipment that is removed, surplus to requirement, i.e., not part of a LaaS or buy-back scheme or pre-destined for specific remanufacture and re-deployment? Most people reading this article will have seen examples on site of perfectly viable, valuable equipment, piled onto a pallet, stacked in a heap for WEEE processing or thrown into a general waste skip. An opportunity missed. With all the current effort going in to adapting the lighting industry to the circular economy it is preposterous. Is there a solution? Can we find a sustainable route that diverts valuable equipment from simply being pushed down the WEEE route for material and energy recovery?
It seems that the critical juncture occurs on site where a human technician makes a simple A or B* decision (see fig 3). The moment a fixture is assigned “B” status and a place in a WEEE collection receptacle, its only destination is the shredder.
While recovering materials and not components is the ‘ring’ of last resort (as utility is lost and recovered material can be lower grade than virgin) not to mention the energy involved (collection, cleaning, sorting, shredding, processing, transporting), It still plays a crucial role – it keeps materials in use and reduces waste stream. Recycling materials takes less energy than primary production and consequently less GHG emissions. For example, recycling aluminium requires only 5% of the energy used to create primary aluminium.
Conversations with PCSs suggest that early identification of those projects from which fittings could be reused or remanufactured is vital. Where that happens, and if the contractor is supportive, then providing suitable packaging materials, such as “cardboard bubble wrap” could help preserve the product for reuse. This crucially also requires companies that are willing to receive the product and rework it. Recolight has offered to deliver such product, free of charge, to companies in the UK willing to take responsibility for the product. This requires a new “ecosystem” of remanufacturers, willing to receive, remanufacture, and certify the product. That may also involve harvesting of components or subassemblies that are reusable.
Education and motivators could probably be implemented in order to stimulate the A or B decision process on site. But what next? Where should the pallet of good, protected, used equipment go?
Who is to store it? Where?
Who is to process it? How?
Who is to certify it, package it, warehouse it?
The wheres, hows and whos are answerable, but only once the “WHY?” is established.
Fundamentally we require specifiers and end-users to be willing to purchase reused product. That is what will drive this change – the pull of customers willing to purchase reused product. That requires confidence and trust in the remanufacturing process, and the development of the reuse standard BS8887 for the lighting industry should give purchasers the confidence that remanufactured product is fit for purpose. Resetting warranties. The commercials also need to work – it is unlikely that customers will pay more for reused product than they will for new product – Recolight’s offer to deliver reused product FOC should help spark this change.
As David Battersby puts it: There are two points – Education and Price. How does the industry engage with people “on the ground”? Educate and interact, and not just with larger companies, also wholesalers and other stakeholders. Circularity must turn a profit. David believes that while the lighting community may be increasingly aware of circularity, it relies on other parties to make it reality. Interdependency up and down the supply chain. So long as a margin and/or benefit can be identified then there is the “why”.
Answer the “WHY” and WEE PCS’s have the potential to become an even more vital ingredient to the circularity of the lighting industry.
www.greenlight-alliance.com
www.recolight.co.uk
www.lumicom.co.uk
IALD Enlighten Europe conference to return
(Germany) – For the first time since 2018, the IALD Enlighten conference will return to Europe, taking place at Cafe Moskau, Berlin on 30 June - 1 July 2023.
A popular event in the lighting calendar, the Enlighten conferences are created exclusively by and for lighting professionals across the Americas, Asia and Europe. Designed to bring the lighting community together to learn, share ideas and explore solutions with likeminded people who are passionate about light, the intimate events hope to inspire and motivate, moving architectural lighting design into the future.
The call for presentations for Enlighten Europe is now open. The IALD is seeking “energetic and engaging speakers to lead impactful learning experiences”.
“We know that lighting designers learn best from each other, and that idea is what the Enlighten conferences are built on, If you have a story to share, we want to hear it!”.
The deadline for proposals is 11 January 2023. More information can be found online here.
ROLAN publishes manifesto for outdoor lighting
(Worldwide) - The Founding Partners of ROLAN (Responsible Outdoor Lighting At Night) have published a 10-point Manifesto, which sets out a series of core principles for external illumination, and a plan of action to implement positive change in the lighting community. The hope is that this will lead to a more sustainable, healthier, and safer future for all.
Because the UN Sustainable Development Goals do not explicitly refer to external illumination and its multiple impacts, the Founding Partners of the ROLAN movement, are keen to address this in support of the SDG Goals. By following the principles outlined in the ROLAN manifesto, governments, businesses, and individuals support the implementation of the following SDG.
The principal authors of the ROLAN Manifesto are Dr Karolina M. Zielinska-Dabkowska - the ILLUME research group/the Gdansk University of Technology; and Ruskin Hartley - the International Dark‐Sky Association, with contributions and support from further Founding Partners: the Society of Light and Lighting (SLL), the International Association of Lighting Designers (IALD), the Illuminating Engineering Society (IES), the Institution of Lighting Professionals (ILP) and the Lighting Industry Association (LIA).
The 10-point manifesto is as follows:
- Everyone should have the right to access darkness and quality lighting, and light needs to be used and distributed fairly without discrimination.
- Start your design with darkness and only add light if it supports nocturnal placemaking and protects a view of the stars
- In all projects, strive to maximise the benefits of outdoor light at night by creating legible, safe spaces and journeys, simultaneously limiting each project’s environmental and financial costs.
- Apply the Five Principles of Responsible Outdoor Lighting in all lighting projects:
– All light should have a clear purpose.
– Light should be directed only to where it’s needed.
– Light should be no brighter than necessary.
– Light should be dimmed down or turned off when not required.
– Use warmer colour lights where possible. - Collaborate with researchers from different disciplines and specialties, such as astronomers, ecologists, biologists, lawyers, etc., so they can provide expertise on unfamiliar topics.
- Educate your clients about the importance of ROLAN.
- Ensure the community you work with is an active stakeholder and participant in all lighting projects. Enquire about their needs and wishes at night, and provide them with access to information to make informed decisions.
- Embrace technology by asking for support from the lighting industry to ensure that night-time biodiversity is sustained, and energy consumption is reduced. Engage with the lighting design industry to deliver an appropriate lighting solution.
- A circular economy should be integrated into the brief, design, specification, and manufacturing process of your project, as well as its installation.
- After project completion, visit the site at night with community stakeholders, to verify that your lighting design was fully implemented and meets ROLAN principles.
If your organisation would like to support ROLAN movement, please contact: k.zielinska-dabkowska@pg.edu.pl
High resolution PDFs of the ROLAN Manifesto can be downloaded here (Black background) and here (White background).
Inside the print edition of arc 131, it mistakenly reads that the ROLAN Manifesto was led by Dr Zielinska-Dabkowska. The principal authors of the manifesto were Dr. Zielinska-Dabkowska and Ruskin Hartley, with contributions and support from all ROLAN Founding Partners. We apologise for this inaccuracy.
LiGHT 22 – inaugural show hailed a massive success
(UK) – Held over two days at the Business Design Centre, the first-ever LiGHT exhibition closed its doors earlier this week to a buzz of positivity, from both visitors and exhibitors alike.
The design community came out in force to support the new show, with over 3,000 visitors passing through the doors to see more than 100 high-end international lighting brands present their latest product ranges for the architectural and decorative specification market.
Show highlights included the [d]arc thoughts talks programme, in collaboration with lighting control specialist Lutron, which benefited from a steady stream of guests across the two days, keen to learn more about the hot topics in lighting.
With every talk well attended, the headline panel saw more than 250 people crowd round the stage to see Masters of Light(ing) designers Sally Storey (Lighting Design International); Mark Major (Speirs Major); and Nick Hoggett (dpa lighting consultants) take to the stage to share their knowledge and expertise with the industry.
Visitors to the show also made good use of the dedicated workspace area on the gallery level. Illuminated by table lamps from British lighting brand Tala, LiGHT Work was a beautiful, relaxing space allowing show attendees to complete office tasks, while offering dedicated wi-fi, free coffee, and charging points.
Day one closed with a late-night drinks party hosted by the organisers [d]arc media and stand parties throughout the space.
The buzz around the new lighting event continued into day two with a LiGHT networking lunch hosted in the [d]arc thoughts talks arena, allowing visiting designers and manufacturers to meet in a relaxed space, while taking in a video interview with internationally celebrated product designer Michael Anastassiades.
The show was also heavily supported by industry trade bodies and organisations including: SLL; IALD; ILP; LIA; BIID; SBID; Women in Lighting, along with industry media organisations: ICON; On Office; Archiproducts; DeZeen; NLA; World Architecture News; and STIR.
Delighted with the success of the first year, [d]arc media Managing Director, Paul James said: “The show has been a resounding success with the design community coming out in force to support this first year. LiGHT 22 caters to the ever-growing design sector in London and further afield and is a new offering for lighting design built on [d]arc media’s knowledge and experience of the lighting specification market that spans more than 20 years.
“We have had nothing but positive feedback from exhibiting brands and visitors alike and I am really looking forward to what next year’s show will bring.”
Free to attend, dates for next year’s show are confirmed as 21 & 22 November 2023.
New Nulty appointment announced
(UK) – Nulty has recruited Charlotte Croft as Business Development Manager for Europe. Croft brings over 13 years’ experience in technical sales and lighting design to the role, having previously held positions at Whitecroft Lighting and Fagerhult Belysning.
Croft’s appointment comes at a key time for the London studio as Nulty looks to expand its project scope in the UK and beyond. Her remit will be to develop client relationships across all sectors and spearhead practice-to-practice meetings, CPD presentations and networking at industry events.
Paul Nulty, Founder, Nulty commented: “Charlotte is a very welcome addition to the Nulty team. Her friendly personality, industry knowledge and project management skills are exactly what we need to build successful partnerships with clients. Whilst we are expanding quickly with new studios in Pune and Bangkok, London remains an important market for us and is home to a huge number of global architecture and design practices, project management firms and leading developers. Her appointment signals our intent to cultivate these relationships and undertake exciting new work for the studio.”
Charlotte Croft, Business Development Manager, Nulty added: “I’m thrilled to join a company that I have long admired for delivering industry-leading lighting design. I’m looking forward to working closely with the design team to grow the company’s pipeline of work and build on the great results that have been achieved so far.”
L&L Luce&Light celebrates 15th anniversary
(Italy) – L&L Luce&Light has commemorated its 15th anniversary with the inauguration of its new headquarters in Dueville, in the province of Vicenza, Italy.
The large, modern space, the new office is better suited to the company’s current size, and as well as providing welcoming, efficient workspaces, offices and leisure areas for staff, it is an ideal venue for product tests and meetings with lighting professionals. In the showroom space, light is used to define each zone and their different functions. The space is divided into four zones – lounge area, test area, meeting area, and camera obscura.
Alongside the new premises, the Italian manufacturer has celebrated its 15th anniversary with certification of ISO 9001 – the international standard that assesses corporate quality management systems, and in recent years it has become a strategic choice for companies looking to be more competitive in the market.
“The recognition comes at a perfect time for L&L Luce&Light, at a stage of company maturity where we can guarantee the total commitment that certification brings with it,” a statement from the brand said. “It is a confirmation of a search for quality and continuous improvement – planning, executing, controlling, correcting this process several times, at all levels and in all areas of the organisation.”
