Office for Visual Interaction
With the company celebrating its 25th anniversary, arc sat down with four of the Project Managers from Office for Visual Interaction to discuss its design principles, its ethos, and what the future holds.
2022 marks the 25th anniversary of Office for Visual Interaction (OVI). Founded in New York by Enrique Peiniger and Jean Sundin, the studio classes itself not just as lighting designers, but as “philosophers, storytellers and tailors who identify the essence of a project and craft designs into vivid architectural metaphors”.
Over the past 25 years, the company has worked with a broad array of high-profile architects on projects around the world, including a longstanding collaboration with Zaha Hadid Architects.
To commemorate OVI’s landmark anniversary, arc held a roundtable discussion with four of its Project Managers – Markus Fuerderer, Wendy Jiang, Monica Llamas and Ramy Makhaly – to find out more about what makes the studio unique.
With a background in architecture and product engineering, Fuerderer joined OVI in 2007 after meeting with Peiniger and Sundin during a previous role at Erco. He recalled: “It was really interesting to me how OVI worked with light and space, coming from an architectural background where you only really work with matter, and the product side where everything is tangible and touchable. What light does with that, as far as perception, was and is my main passion.”
Originally from China, Jiang has always had a passion for art and architecture, and completed her Bachelor’s and Master’s degrees in Architectural Engineering at Penn State University. During her time at university, she met Fuerderer at a careers fair, and later interviewed for an internship at OVI. “During the interview, I got to know a lot more of what OVI does, see a variety of projects, and through those projects see a nice combination of art and engineering, which is what my degree and passion was in,” she said.
“From there, it was a no brainer for me to take the opportunity for the internship, and then after that I came back full time after graduation in 2016.”
Makhaly first joined OVI in 2013, having recently completed his Master’s in lighting design from New York School of Interior Design. Born in Egypt, Makhaly studied Interior Architecture at the American University in Dubai before moving to New York. It was during his Master’s that he met Sundin, as he explained: “Jean was one of my judges on my thesis presentation, and was the only judge that I had a design-driven conversation with. Then I saw OVI’s projects, and my eyes grew wide – I was fascinated by the idea of working with world renowned architects that I had been dreaming about and learning about all through my interior architecture degree.
“That drew me in and I’m grateful that it did because during my first week at OVI, I was working on changing the façade of one of my favourite architects of all time just to allow space for lighting. I don’t think I would get that opportunity anywhere else, it’s very special and unique.”
Finally, Llamas is the most recent recruit to OVI, joining the team in 2019. Like everyone else, she came into lighting design through a background in architecture, having gained a degree in her home country of Guatemala. “That’s where I first encountered this fascination for lighting and realised the infinite opportunities it offers within a space and for the human experience,” she said. “It’s such a unique way of still being in touch with architecture, still being in touch with my first love, and the ever-changing quality of light that never ceases to impress me.”
This led Llamas to shift from architecture to lighting, completing her Master’s degree in Lighting Design at Parsons School of Design in New York. Having practiced as a lighting designer in New York for several years, Llamas was approached by OVI after being recognised in the 40 Under 40 North America Awards in 2018. “I had a really enticing conversation with Jean, talking about our interests in design and lighting and the time flew by. That immediately sparked an interest in the office. I already knew the projects were great, I knew the work that they were doing, but it was that conversation with Jean and seeing how passionate she is about design, her thinking behind OVI and the value that the studio carries on through the project that drew me to join – it was an opportunity I couldn’t let pass.”
Within OVI’s team, there is a very diverse, multicultural mixture of designers from around the world, each bringing different interests and perspectives. It’s something that the project managers believe to be of benefit to the firm as a whole. “It’s one of our core strengths, the different backgrounds not only in fields, but also culturally,” said Fuerderer. “We bring together an understanding for the cultural context, but then also really different interest focuses, where I think we all really work well together across all stages – everybody can do everything.”
“Learning from one another, we get to understand the culture of different parts of the world, and that’s really valuable,” added Jiang. “We like to pick each other’s brains on different perspectives, different ideas, and eventually we will infuse those shared perspectives in the design as well. That’s what makes this collaboration and the design process quite interesting.”
Llamas continued: “OVI is a common element that brings us together, but bringing our own personalities and our own upbringing is what makes the interaction so rich. It’s much stronger than if we were all from the same mould or had the same perspective or way of thinking.”
“It’s such a melting pot of everything, we’re able to touch everything in the world. It’s nice to learn from everybody’s experiences; whether they’ve worked somewhere or they’re from somewhere, whether they have specific projects somewhere, all of these affect us in the big picture,” Makhaly concurred.
To this point, the team acknowledged that their broad scope of backgrounds can give them an inside track on international projects. Makhaly continued: “Even just knowing the visitor experience in those countries – because we don’t always have the opportunity to visit sites and locations before projects – knowing the space, knowing what people who live there do on a day-to-day basis, what they experience, what they expect, what the cultural aspects are, all of these aspects are very valuable to us.”
“It’s not so much that you have to be informed about a specific space or place in the world – because of our background, there is a sensitivity to it,” Fuerderer continued. “If you don’t know it, you’re sensitive to it and you might ask certain questions that someone else might not. We have a lot of fun with those conversations.
“It’s not only about the project, it’s as much as we learn from the process and the projects as well, and that goes into the next project, the next discussion. That sensitivity of culture is something that we actively develop and evolve.”
Llamas added: “Because we come from different contexts and different cultures and different backgrounds, we are also receptive and able to fine tune what we’re saying, how we’re saying it, and what we’re bringing in order for the team to be open and welcoming of those ideas as well.”
Makhaly continued: “The design principles that Jean and Enrique set up from the beginning, even though we all come from different places, somehow, we all share the same design principles. That’s how we’re able to provide an OVI solution that will always evoke a cohesive feeling across all projects, even if the projects look different or have different needs.”
Following on from this point, Fuerderer agreed that he feels the overarching philosophy or ethos of OVI has remained consistent in his time with the studio. “I feel it’s not so different from the very beginning,” he said. “We’re really focusing on a story, a message, and that’s consistent throughout our projects; it’s what connects the visual portion to the architectural vision of the shape or form. That’s a thread that runs from the early projects all the way to the latest competitions.
“Something that is also very important is how this message is translated into the actual building, because you can have fantastic ideas, wild concepts, but if you can’t manifest those into reality, they’re just fantasies. That’s something that is part of the philosophy – finding a storyline that is clear and concise, then finding ways to build that and incorporate it into the project needs.”
“It’s about finding that essence,” Llamas added. “A space can be many things, but what is its essence? How will it be lived in? How will people interact with it? How are we able to translate that into a story with light that people can experience? It’s what enriches every one of our designs and makes them unique – each space has a story to tell and we’re able to dissect that and tell it through light.”
In a similar vein, Makhaly added that for him, it’s about the emotion that the designers are trying to create. “Jean told me something in my first week, she said that lighting is like a magician’s touch. We have the ability to create magic, because without light you can’t see architecture, so we have the opportunity to paint with light.”
Jiang continued: “A lot of the time, people don’t tend to realise lighting is the element that makes the space sing and makes you feel and create emotions. That drew me to lighting in the first place – being able to play with that “invisible” fabric and curate memorable moments.
“We want to make a magical moment, but we also need to be realistic and work with the rest of the team. It’s never lighting dictating the design, but lighting complementing the architecture, working with all disciplines, and finding ways to achieve both the stability that you need, and those magical moments.”
“If people feel good in a space, but they don’t know why, that’s the magical part,” said Fuerderer. “We try to achieve this in our spaces, but for me, maybe this is my lighting geek side, when somebody feels well in a space and we start to understand why that is, there’s a fascination. And the moment you start to understand it, in a way that becomes even more magical to me – although I understand how it works, it’s the intrigue of the thought process to get to that result.”
In their quests to make moments of magic, the team has worked on a number of high-profile projects during their tenure at OVI. Examples cited include local New York projects such as 520 West 28th Street – ZHA’s first project in New York, the Reimagine the Canals project along the Erie Canal in upstate New York, and the collaboration with Foster + Partners on Apple’s Fifth Avenue store. Looking further afield, projects such as the Lululemon headquarters in Vancouver, Canada, in which Jiang adopted biophilic principles so that the lighting contributes to “the healthiest workplace in the world”; the phenomenal Al Wasl Plaza at Expo 2020, a project that pushed Makhaly to “learn more about media and dynamic lighting”; and the King Abdullah Petroleum Studies and Research Center (KAPSARC) in Saudi Arabia, which due to its parametric design, Fuerderer explained as being “very different from the traditional ways of how I understood architecture”.
Although each project varies greatly in scope and style, the team discussed the idea of there being a connecting thread that links each project to one cohesive narrative. “There is, but not in a way that you would put a red beacon on all of our projects,” said Fuerderer. “It’s more like the way we treat light to attribute character, to give an identity. We work with so many different architects and design teams, they all have their own unique styles, but also respond to their environment, to their clients. The same is true for us, it’s more about how we respond to those pieces. That’s the common thread, which goes back to storyline.”
Llamas added: “We see light as a material, it’s not something that we are introducing to a space as an object to illuminate, but it’s another layer of material that we are able to work with and mould to the space’s needs. We won’t ever have a catalogue to show clients what they’re getting, but we will shape and work and tailor the design, so that each of the spaces are responding and have that seamless integration with light, that’s when you find the magic moment.”
“I 100% agree, and I think the common thread typically comes on principle and methodology, how we approach to design spaces with light and how we can curate the experience, appreciate the architecture and the materiality more, without even noticing lighting doing too much work,” continued Jiang. “We’re constantly trying to research what is the next thing in lighting that we can infuse into design and bring fresh perspectives to a space. Perhaps it’s a new way that light can interact with a material, or perhaps it’s how lighting can change the way people normally see a space. Rather than just the static experience, but how we can bring dynamic experience and interactions to a still space.”
The search for the next thing in lighting leads the conversation on to what the future will look like for OVI, what the next thing in lighting will be and how the company will change in the coming years.
“There’s nothing as constant as change, so we have to keep changing,” Fuerderer enthused. “The changes are coming from the needs of our clients – we adapt to that. Certainly, there’s a handful of challenges; we are living in a time where we have limited resources in terms of energy and materials, so we want to be very careful with that. At the same time, we have incredible tools to work with to almost forecast how these systems work together.
“We’re looking at a future where idea creation is almost starting to get artificial intelligence in use. But how do we translate that back into the real world? It’s an exciting time, and we have some really radical ideas from competitions that we’re working on, so there’s a lot to learn and develop around that.”
“The challenges that we encounter on projects are ultimately going to lead us into forward thinking, into new solutions, new collaborations and discussions around design,” added Llamas. “Whenever we have a connection or invitation to be part of a new project, that’s where our minds are blown in terms of ideas that we can implement, ways that we can innovate, and ways that we can interact, but it’s always related to the conversations that we’re having, and keeping in mind that we want to be conscious of the environment and the resources that we’re using.”
Jiang added: “It’s something always triggered from interaction, whether it’s internal or external. Those are where we collectively think there could be a better way forward.
“We’re trying to outreach to some schools either here in the US or in China; Jean and Enrique led a lecture in China for a university with a lighting engineering programme, and our studio also participated in some of the lessons. It has been interesting not just hearing what our peers in the industry are thinking about, but also the next generation, what they’re looking to learn. That is also a channel for us to share our experience with them.
“That said, looking at things that are not just related to lighting gets us inspired a lot of the time, just to take a moment outside of it to see some outside elements – whether that’s from nature, from art, things like that give us new inspirations that we think can be translated into a lighting moment.”
However, with changing technologies, Makhaly is keeping an eye on how this may impact on client demands. He explained: “Because we’re so responsive, it’s all going to depend on the client. More and more with the technologies and tools that are available to us, the sky’s the limit – and I don’t say that in the best way; sometimes that can be great because you can do anything you want. But that can also be, for somebody like the end user, not so great because they can do anything they want.
“We almost become gatekeepers or protectors from the beginning of the design process to think about the future of cities, the future of landmarks, the future of sky lines. How is lighting going to impact that, and what is our project, in relation to other projects in the next 20 years, going to look like? Are we going to be OK with that in 10, 15, 20 years? Are we still going to be proud of our work or is it going to look dated? All these big picture ideas and thinking forward is where I see change and evolution, because we’re always trying to think forward.”
As for the next 25 years, the team were in agreement in the hope that OVI will continue to push boundaries and create inspiring lighting projects. Makhaly continued: “It’s about the people. So long as that focus remains and the team keeps growing and flourishing and has the same design thinking, the same principles, with room for individual interests to flourish, then I have nothing to worry about, I feel like we’ll always be going ahead.
“There’s something very beautiful about the name Office for Visual Interaction – it’s not just lighting design. It’s not specific to just lighting design, architectural lighting, it’s about creative work, creative thinking, visual interaction with materiality, with nature, with so many aspects.”
Llamas agreed, adding: “I see us pushing the limits. We don’t provide solutions that are from a template or are repeated from project to project. Pushing the limits and the boundaries in that creative way, that responds to the projects that we’re dealing with and people that will be inhabiting those spaces, it’s certainly already an exciting place to be because we will continue creating beautiful narratives for spaces as we’re evolving as a team and a company.”
“I couldn’t say it any better,” said Jiang. “It’s very open ended in that we don’t really have an exact answer. We will keep doing what we’re doing, but as it moves along there will be new things that we explore through each other, through technology, through the research. We’ll keep incorporating those into our design process and see where that brings us.”
The last word though, went to Fuerderer, who concluded: “There are a lot of things on the rise that are truly radical. For example, the next iteration of what we did with KAPSARC, the parametric design. This is the next evolution of that where parameters are connected to the variables of the environment and have real-time input of shaping the building geometry and materials. We will be a lot more responsive to the context – not only from a performance perspective but also aesthetically. That’s where I think a lot of significant changes will come from, and ultimately shape our future and culture as a whole, it’s a really exciting direction.
“As far as our view internally at OVI, the goal is to continue to be on the forefront of developing that, together with our architects and clients. I’m looking forward to pushing this direction for OVI, alongside our like-minded team, like all of you. So, for the foreseeable future, that’s what I see.”
We’ll have to check back in with OVI in 2047 to see how correct they were.
Marci Song & Momena Saleem
Meeting through the Silhouette Awards’ mentorship programme, Marci Song and Momena Saleem share similar career paths that have seen them travel the world. Speaking with arc, they discuss their multicultural backgrounds and the importance of having a mentor.
Last summer saw the launch of the Silhouette Awards; a new awards programme that was designed to shine a light on emerging talent within the lighting industry.
With a goal of offering support to young professionals, the awards honoured up and coming talent, and as part of this recognition, paired them with established designers for a six-month mentorship programme.
The winners of the inaugural Silhouette Awards, and their newfound mentors, were revealed earlier this year; one such partnership saw Momena Saleem paired with founder of SEAM Design, Marci Song (aka Amarasri Songcharoen).
Although the initial aim of the mentorship scheme was for senior designers to “nurture young talent and help likeminded individuals benefit from their own personal experiences”, it wasn’t long before Song and Saleem realised that they had a lot more in common.
Song and her family emigrated to Jackson, Mississippi from Thailand when she was a child. After completing a BA in Art History at a local liberal arts college, she got her Master’s in Architecture at the University of Pennsylvania. From here, she worked in New York and Boston, before moving to London in 2005; following a four-year stint at another lighting design practice, she established SEAM Design in 2009. Within architectural lighting design, SEAM has worked on high profile projects around the world, in more than 30 countries across five continents, with the likes of Zaha Hadid, Foster + Partners, AL_A, BIG, and Buro: Ole Scheeren. Despite this varied scope, Song believes her core interest is rooted in architecture. “I’ve always been an architectural designer first and lighting is my medium for creativity. Our roots are strongly embedded in architectural design, perhaps we see ourselves more as design agents in lighting for our architects and clients.”
After setting up her own practice, which she now runs alongside husband and co-director Emory Smith, Song explained the overriding ethos that permeates through each of their projects: “We have an analytical and research-led design approach,” she said. “Each project has unique qualities, characters, needs, requirements, and design. It is our job to deconstruct those aspects of the project and reassemble a finely tailored design approach to re-design the lighting brief.
“As an undercurrent to all of this, something that Emory brought to SEAM from his time at Harvard, Pritzker Prize-winning architect Alejandro Arevana once said, ‘the worst thing you could do in design, is to solve very well the wrong problem’.”
Through all of this, Song hoped that SEAM would be a studio with a positive, welcoming work environment that can foster creativity. She explained: “At the beginning of my career, and possibly still today, I didn’t see a true integration or appreciation of lighting as a design and construction material that shapes space. This was something that interested me back then, and still interests me today.”
The idea of being a role model and creating a nurturing environment is also particularly important for Song. She continued: “I also wanted SEAM to be a great place to work – highly collaborative, creative, and driven. I wanted to create and maintain a healthy and nurturing work environment. In highly competitive markets such as London and New York, you hear stories, and sometimes experience very toxic work environments, and I did not want SEAM to be that.”
Even if it was never in a formal mentor-mentee setting, there were influential individuals in SEAM’s early years. Song explained: “When I was first starting SEAM stateside, there was a good friend and former schoolmate from Penn – Mark Gardner, Principal of Jaklitsch/Gardner Architects and now Director of the M.Arch programme at Parson’s New School of Design, who gave me my first lighting project opportunity, the Taiwanese Consulate in Manhattan. He also coached me on contracts and professional practice, having taught a course on it at Penn.
“I should also mention Friedrich Ludewig, Director of ACME, who let me rent a desk in his studio and coached me on how to set up a practice in London; and Alvin Huang, Principal of Synthesis – Design + Architecture, and now Director of the M.Arch programme at the University of Southern California. When we shared studio space, he encouraged me to be brave and market myself more via connections and social media, which helped me maintain a company during the Great Recession.”
Song was keen to get involved with the Silhouette Awards and put herself out there as a mentor for others. “This is one of the many ways I can give back to the lighting community, through something that I did not have myself when I was a young professional.” she said. “I have been a mentor for a number of young professionals and design students. It felt natural to take on this role and challenge in the lighting design industry.
“Especially during and after the pandemic, designers need more support. Even seasoned professionals need more support. Mentorship exchanges are platforms that allow people to zoom out and take a moment to assess at a bigger picture. Even outside of the pandemic, these platforms are essential to allow for people to course correct with guidance and support.”
It is through this platform that Song met Momena Saleem. Originally from Pakistan, Saleem’s career to date has seen her graduate with a Bachelor’s in Interior Design from the Institute of Design and Visual Arts in her home country, before moving to Italy to complete her Master’s degree in lighting design and LED technology from Politecnico Di Milano. From here, Saleem completed a certified course in architecture from Harvard Graduate School of Design in the USA, which she said, “nurtured my interests in understanding the power of light in the world’s exemplary buildings”.
During her Master’s, as part of a professional training module, Saleem moved to Istanbul, Turkey, for an internship with ZKLD, where she was able to hone her skills as a lighting designer. She worked on some of the monumental lighting projects in her native Pakistan; alongside this she has carried out global activities as a Women in Lighting Ambassador in her region to educate and spread awareness about the lighting design profession. In 2020, Saleem was named one of the 40 Under 40 award winners, which recognises emerging talent within lighting design. Now, she works as a lighting designer on a range of projects in collaboration with Worktecht and Co, which has offices in Japan, Taiwan, Hong Kong and Africa.
This means that despite a relatively short time in the lighting industry, Saleem has lived, studied, and worked across the world – something that has become a lot easier in recent years. “Since the pandemic, the world has evolved and we developed new ways of working,” Saleem said. “I’m living in Pakistan but most of my team and projects are based in different countries. Being part of a remote workforce for international projects is a bit of a challenge, but I always try to find the best strategies to coordinate with my team on a day-to-day basis.”
Saleem added that while working across the world, in a range of cultures, each with different approaches and attitudes, may be daunting for some, she feels that it has been of great benefit to her career to date. She explained: “The most powerful influence on my work has been my multi-cultural background.
“I was born and raised in Pakistan, got my education in Europe, travelled across the Middle East, and spent the past couple of years working on projects mainly in the Asia-Pacific region. The whole experience has taught me that life is richer and more vibrant when cultures collide. The benefits of learning and working in diverse cultures has had eclectic influences on my design approach. The journey has been inspiring in every way – it helped me build the strength, connectivity, understanding and respect of cultural values in each region.
“Lighting design as a concept is shaped by the cultural aspects, social values, the way of living. The meaning of light itself varies in different cultures, it’s narrating a different story in a different setting or event.”
Song, in her time working in the Far East, US and UK, shares Saleem’s view on the concept of lighting design differing across cultures. “What I have found is that there are differences of interpretation – what is lighting and what value does lighting bring to a project?” she said. “Furthermore, how to master light and usher its shape, design and meaning, through different regional and cultural interpretations, into reality. It’s highly nuanced.”
Understanding these nuances and navigating different cultures is something that Song has had to do for most of her life, since travelling back and forth between Thailand and Mississippi at an early age, and while she acknowledges that it hasn’t been easy, she said that she has learned to adjust over time. “Growing up in dual cultures, you never really ‘fit in’,” she said. “I guess you could say that I learned to be comfortable with being uncomfortable.
“Identity is multi-faceted and complex, which at times can feel at odds with one another. I had to ask myself how I turn the ‘contradictory’ to the ‘complementary’. For me, this was not just aspirational, it was also survival, particularly in business in a competitive field. This awareness also makes me a highly empathic designer and collaborator.”
Song also acknowledges, “having lived, studied, and worked in several places has enabled me to read subtle nuances of different places and cultures, which has better prepared me to work globally.
“Momena and I have talked about the ‘Immigrant Condition’ – how there can be social anxiety around feelings of displacement. When you go from one school to another in your home country, that’s already a level of displacement. To then bring in the bigger picture of environment, culture, language, it can be very overwhelming. You have to adjust yourself into another culture very quickly to acclimatise.
“For example, in Momena’s case, when she went from Pakistan to Milan to study, there were many hurdles and obstacles to overcome to be part of that academic environment and be productive in your learning. And through her work with Worktecht now, she’s had to learn a whole new culture in a pandemic, through Zoom, to work with a company in Tokyo.
“Minorities – gender, race, nationality, or any ‘other check box’, generally have to work harder to prove themselves. My ‘check boxes’ have made me the professional I am today. Going the extra mile is my default mode,” Song continued.
“It’s natural, especially in design, for people to come at you with levels of skepticism, especially if they don’t know you. One of the reasons and drivers behind starting up SEAM was that I wanted to create a place that was all about the designs, where ideas could come from anyone, it’s a collaborative effort.”
However, through both Song and Saleem’s experiences, the pair have recognised the importance of strong, effective communication in easing the levels of skepticism.
Song continued: “A lot of people in this field travel a lot and work on international projects. Through our work at SEAM in different countries, it’s interesting to see how people communicate, whether it’s visual or verbal communication, it’s how we collaborate on projects and come to the table together.
“When you are the one coming from another country, you have to work harder to figure out how to communicate and collaborate. Those that are the majority don’t necessarily have that pressure. As a minority, there’s a careful consideration, particularly when sharing strong opinions – there’s always fears of negative pushback or retaliation.
“However, something Momena brought up is that it’s interesting to see how there is a really beautiful synergy in communication and collaboration between different people of different backgrounds. It’s one of the unifying factors of design – it’s such a great field to bring people together and to bring creativity together.”
Saleem added: “We have to shift gears, and we have developed a lot of resilience to those unexpected pushbacks, sometimes cultural and sometimes social. The way to overcome all these challenges is through hard work and by developing your skills in collaboration and being more communicative, through this you learn a lot of things.
“Although it comes with all those challenges that we face, it still has its own beauty in dealing with people and developing our design approach, you end up understanding people and the design better.”
With their respective multi-cultural backgrounds, it wasn’t long before Song and Saleem noticed similarities in their career paths. These similarities helped forge a strong mentor/mentee connection, although Song explained that this wasn’t the intention to begin with. “At the beginning of our mentor relationship, it wasn’t focused on this; I was asking Momena how she was getting on with work, where she was in her position with her career, how she navigated the pandemic, etc,” she said.
“But we talked about how she has gone to all these different places, and then back to Pakistan, which doesn’t have a lot of lighting representation, and how she is adjusting to working with Worktecht.
“Japanese culture is very different to Chinese culture, Taiwanese culture, and other Southeast Asian countries, so you’re already having to adjust – that’s very complex when you just want to learn how to be a good lighting designer and project manager. It’s not of Momena’s choosing, it’s just what she has come into. It’s interesting because in any career, you face bosses that are not from your culture, and you have to figure out how to help them help you; it’s the kind of exchange that you have to face as a junior or young professional, and it’s all part of professional growth.”
And Saleem added that, through this process, she has gained a valuable insight from her partnership with Song. “We had a couple of sessions together that helped both of us to navigate how we have come to our position and where we are going. There was a lot to learn from Marci through her experiences, it was like a look into the future, which was really helpful for me to see that things can go even better. There are ups and downs both personally and professionally, but we can still find that balance, and that keeps you going. To hone your skills, to bring value in projects and give the best you can, it’s a process that takes a lot of learning. We’re both still working on it and getting good outcomes as well – there have been great rewards.
“I will always be thankful to Marci for walking with me on this incredible journey of learning, exchanging our knowledge and experiences. Not only has she been a fantastic mentor to me, but she has helped me to understand the process and ways of developing myself and my career, what strategies can be helpful in achieving my goals, and at the same time finding the balance in managing my own expectations. Marci has shared her experiences and what she learnt through her years of working in the industry; her wisdom has reframed my perception towards life in a very positive and impactful way. Each mentorship session was like taking a step forward in my career. She inspired me to work hard and be patient.”
Song added: “Momena and I have talked a lot about the lighting profession and a lifetime of learning. We’ve also talked about patience and managing expectations, and about the importance of communicating with your team – particularly managers and seniors – and to be an active participant in your own professional development. I give the same advice to our junior staff who may move on to other companies and teams. If they are not active in their own development, their agenda will be defined by someone else, and it may not be a path they have chosen. It has been through this mentorship programme that we can have these candid conversations.”
Indeed, following the success of their partnership through the Silhouette Awards, both Song and Saleem have encouraged young designers in the industry to look for mentors and other support programmes – something that the lighting community can readily provide.
“To all the young lighting designers, there are so many great initiatives that keep you whole, and remind you that we are all together and we will make it through; even if you’re young, it doesn’t matter, we can go a long way together. This is the best part of being in the industry,” said Saleem.
“As a young designer, I find myself very lucky to be in the industry, to be connected with everyone. During the pandemic also, it was great to be connected to so many different parts of the world – it was overwhelming, in a good way. Even now things are going back to normal, there are still ways to help keep us connected.”
Song concluded: “After 20 years in the industry, it is nice to see some of these barriers coming down for the younger generation. Speaking out, showing pride in your heritage and valuing diversity are becoming more commonplace.
“It’s a great time for people to get into lighting now. It is becoming a more well-known field – there is a lot of support out there for young designers, and with the current environmental crisis, lighting design can play a really important role in making the built environment more sustainable and adaptable; it is no longer a luxury, but a necessity.”
www.silhouetteawards.com
www.seam-design.com
www.worktecht.com
Ben Baxter & Ruth McDermott
Australian light artists Ben Baxter and Ruth McDermott have released a new book - Between Dark & Light, reflecting on their unique relationship of artistic collaboration and demonstrating some highlights from their 13-year career. Here, Baxter and McDermott sit down with arc to discuss the inspiration behind the book.
How did you meet and begin working together?
We met at the University of New South Wales in Sydney through the Industrial Design course. We started looking for opportunities to collaborate on urban renewal and pop-up installations in Sydney. When the chance came to participate in the first Vivid festival, we applied together.
Is there a philosophy behind your work?
Our work tends to come from our experiences living on the east coast of Australia. From this we tend to explore ideas around landscape, beach, water, rock, and the natural environment. We were inspired by British artists Gilbert and George, who use their everyday life as the basis for their practice. We often talk about artists that inspire us. Caravaggio for light and shadow, Matisse for colour, Dan Flavin for his absolute simplicity and ease, the scale and ambition of Christo and Jeanne-Claude. We are inspired by light itself but also darkness and treat each with equal importance. We like the romance and sensuality of light, particularly as it interacts with materials, be they shiny, glittery, textured or diffuse. The darkness adds richness and mystery. Place is a key feature of our work and often influences ideas or direction for future work while in situ at the site. Where we locate our work is paramount to a successful installation and we divided these hierarchies for all the projects in the book by their type of location – waterside, urban, landscape and interior. Each special typology has its own challenges and characteristics.
Why is light art so important for the urban environment?
Light art is the jewelled necklace to a little black dress. It creates a sense of surprise and embellishment to the experience of spaces, and adds a layer of discovery, even fantasy, to the public realm. Light can add an extra dimension and make people see the space differently. It adds to the activation of public space – it can make the experience of cities richer, more fun and safer.
What was the inspiration behind the new book?
We wanted to document the evolution of light art, light festivals, and the use of LED technology through our own personal experience. But more personally, we wanted to explore the dynamics of collaborative art practice. We felt that there was very little unpacking of how this process of artistic collaboration actually works. We structured the book to talk about how we were inspired to create each piece and the process of realising the final light artwork – an often complex and torturous process. We also add our individual viewpoints; we both have post-graduate degrees associated with lighting and one thing we found with our studies is there is surprisingly little written about lighting and very few books around the subject. We wanted to give a voice to the medium we love.
How did the opportunity come about?
Ruth did her PhD in lighting at UTS (University of Technology) in Sydney, and Ben studied Landscape Architecture there. We had both taught at the institution in Industrial Design. Ruth approached their publishing arm, UTS ePress, who publish peer reviewed books and journals and they were interested. They felt that the connection between technology and creativity that underpins light art suited the university’s aim. That was the beginning, however, it has been a four-year process – through pandemic and changes of staff. We feel fortunate that they have persisted with this.
What is your ambition for the book?
We wanted to share the journey we have had over the past 13 years – we were part of something incredible at the start of the LED revolution where the technology started to change the way we could use light in urban spaces. This innovation offered new opportunities for artistic practice. We hope people are inspired by our ways of developing work – we have tried to unpack our process as much as possible and also describe our collaboration. We have always brought something different to the table and this is explored in the book.
Where do you see light art going in the future?
A history of light art is discussed in one of the chapters of the book, exploring how the medium developed as an artistic practice from the early days of Baroque spectacle to work in the 21st century. It was fascinating to see how new lighting technologies have contributed to innovative artistic explorations. Currently, we are seeing a growth in the use of LED tubes that rely on the rapid changing of hue and saturation of light to create impressive effects. We wonder if this more kinetic art, not really celebrating the romance and emotional effect lighting can have, dazzles rather than engages the viewer. The challenge for artists using new lighting technologies is to create work that has a degree of beauty, wit or intrigue, evoking an emotional response and creating a connection with the viewer.
Between Dark and Light is available online at www.doi.org/10.5130/aak, with hard copies available at www.au.blurb.com/b/11251977-between-dark-and-light
Clark International Airport, Philippines
One of the main transits in and out of the Philippines, Clark International Airport has recently undergone a large-scale renovation. Lighting for the new-look terminal was designed by local studio Light Plan Inc.
Situated to the north of Manila, Clark International Airport is one of the main transits in and out of the Philippines. Originally opened in the mid-90s, the airport is currently undergoing a widescale development, with four new terminals expected to be opened by 2025. As part of this ongoing work, Lead Architect Populous and Architect of Record CASAS Architects recruited local lighting design practice Light Plan Inc to develop the lighting for the new-look terminal.
Light Plan Inc has prior experience working on airports, having recently completed the Mactan International Airport (also in the Philippines), and the Indira Ghandi Terminal in India.
Jinkie de Jesus, Principal and Founder of Light Plan Inc, explained the original design brief, and how this shaped the lighting design approach. “The brief had several technical considerations, such as complying with Singapore Chiangi Airport standards, LEED certification, and to produce a lighting plan that is energy efficient and easy for maintenance,” she said.
“For the design, we had free reign, but the client wanted to set themselves apart from Mactan International Airport. Taking to heart the brief, and getting to know our client – a consortium among Chiangi Airport and two local developers, Robinsons Land and Filinvest – their vision and aspirations for the terminal set the tone for our lighting design approach.”
This approach was built around two key words – sustainability and showcase. “Being one of the most affected countries by global warming, we aimed to minimise energy consumption by using the minimum number of lights possible to do the job,” explained de Jesus.
“In a local culture where bright equals good, we wanted to impart another approach where we do not need to light excessively for a space to look and feel good.
“We also wanted to create a passenger terminal that would be a showcase or role model for how airport lighting should be in the Philippines. “Airports like this are rare in the Philippines – most of the terminals are substandard when it comes to lighting, and we have the opportunity to create something that can bring pride to the Filipino people, and to convey the message that we can do better. Sadly, we have relaxed and come to accept inferior design, work, or products. Our design inspiration comes from rejecting this culture. We put our minds and hearts to providing the best lighting our budget can allow.”
To adhere to its sustainability requirements, Light Plan Inc listed a set of strategies for the lighting, such as establishing a minimum distance between light fixtures, the idea being the further away, the better. Setting a cap of a distance of three metres meant that they could reduce the number of fixtures needed.
With energy efficiency a priority, the designers also needed to be stringent on compliance. As such, only the highest lumen per watt fixtures were considered, with advanced optics also key to get the light where it needed to be. Longevity was also a consideration, with fixtures chosen that would last, while maintaining proper lux levels beyond five years of operation.
However, de Jesus explained that with these requirements came a number of challenges. “For the arrival corridor, where we had a staggered arrangement of linear lights, we had to go through several rounds of layouts and calculations to ensure that we would still comply with the uniformity values, regardless of their playful arrangement,” she said.
“In the departure hall, as the fixtures were mounted at varying heights, we were concerned about the intensity and distribution of light on the floor, so we specified drivers with dip switch presets and established different intensities depending on the mounting height of the fixtures.”
The specification process, de Jesus added, also proved to be a challenge for the designers. “In the Philippines, it is common that a client will ask for value engineering and alternatives to the original specifications. But as we were designing for sustainability, only the best products in the market could technically comply. In the end, we still went with the majority of these base specifications, since we saw that the inferior products could not do what the higher quality products could. It was good as we had the opportunity to educate our clients and colleagues. Communicating your design and the rationale behind it is as important as designing itself. If we did not get to properly convey the design and specification, the final outcome would not have turned out this way.”
One of the major focal points for the new-look Clark International Airport is in the departures hall, where vast, vaulted wooden ceilings creates a church-like quality. “We wanted to uplight the large wooden glulam arches to showcase the warmth of the wood and the scale of the cathedral ceiling,” de Jesus explained. “It is a simple method, but because of the repeated pattern created by the light, it had a grand effect.
“After several schemes were presented and budget considered, we went with 2700K narrow beam projectors on either side of the arch so the passengers can see the effect regardless of which direction they are facing. The warm colour was perfect for the shade of the wood and contrasted with the 3500K general lighting.
“The pattern created by the lit arches is stunning, as you see different lighting effects as you move into the passenger spaces. Another layer of feature lighting is the reflected light of the general lighting softly and uniformly washing the whole ceiling. When we were doing our design and calculations, we wanted to create this soft blanket of light that would be visible and appreciated from the outside of the terminal.”
The decision to opt for a general CCT of 3500K came after a series of mock-ups, in which the designers tested a variety of colour temperatures. “We thought about how to best illuminate the terminal so that it looked good, and also how to light up the passengers, so they look and feel good, and found that 3500K was the most flattering to the interior finishes and people’s faces - ideal for selfies,” de Jesus continued.
“Tasks and transactions could also be carried out comfortably under this colour of light. The prescribed lux levels were just right at 300 lux. Some international standards would have lower values, but since this is the Philippines, 300 lux is acceptable for functionality, but also not too bright that it will cause finishes to be washed out.”
The need to create an environment where passengers feel good was of great importance to the lighting designers, particularly given how stressful and hectic airports can feel. This is something that de Jesus has recognised in other airports within the Philippines, and was keen not to replicate. “Traveling itself can be stressful and we see that the airport process and environment can contribute to the stress,” she said.
“Ninoy Aquino International Airport in Metro Manila was named the world’s worst airport from 2011-2013, and has continuously been in the top 10 for the past few years. For Clark, we wanted to change the narrative in all aspects and for the lighting we wanted passengers to feel relaxed and happy going through each space and process.
“The selection of lights with a good glare cut was specified. Not too high as the space would look like a hotel, but also not flushed to the ceiling that it would glare. We had the Chiangi guidelines that touched both on horizontal and vertical illumination. Having that good balance between horizontal and vertical lighting also helps make the passengers feel comfortable.
“We avoided high colour temperatures commonly found in our airports in the Philippines and only specified within the range of 2700-4000K. We closely studied which colour of white would showcase the cool tone finishes of the terminal that used blues, greens, and greys. We also wanted to make the space photogenic for passengers.”
Indeed, it seems that there has been a conscious move throughout the project to make an airport that felt different to others in the country. “Clark Airport feels elegant, but at the same time, straightforward,” de Jesus added. “Apart from the departure hall, all other areas only have general lighting, no further accents or embellishment, but even in the absence of accent lighting the terminal still looks great.
“It feels elegant because the lighting is not excessive and is only provided where it is needed. There is a subtle play of contrast, so the finishes are brought to life. It is a combination of simple high-quality finishes lit up with proper lighting. The space looks put together and each lighting point is deliberate. Not many airports locally have that kind of approach of a well thought out lighting scheme, and I think this is how Clark differentiates itself from the rest.”
The efforts made to differentiate the airport have contributed to a successful end result. Looking back, de Jesus reflected on the project’s outcome. “Our team is happy and our client is happy; we cannot ask for more,” she said. “During the last few weeks leading up to the inauguration, the site was still buzzing with last minute work. We were there in the evenings and when all the lights were turned on, our team was very excited since we knew that it would look great.
“We also like that through lighting, we found a way to differentiate Clark from its older twin, the Mactan International Airport. Both airports are spectacular with their unique light identity.”
It is a view that de Jesus believes is shared among travellers and locals alike passing through the airport – a relief for the designers, who hoped that the lighting would enhance the traveller’s journey. “The light and architecture are united – we went through a lot of detailing work to integrate fixtures everywhere possible,” she said. “The lighting is there to support and highlight the architecture, not overpower and take the attention away from it.
“Through lighting, we aim to enhance and elevate the passenger experience by providing the right light for the required function and showcasing the space. Besides our client, our customers are the passengers arriving and departing Clark, and through the lighting we can help them navigate through the space with ease.
“This terminal was a pet project of past president Rodrigo Duterte, and with its opening we saw a sense of pride in the country. Lighting may be a minor part in the whole scheme of things, but I believe it contributes to something that brings pride and joy to Filipinos.”
CapitaSpring, Singapore
Intended to be a new urban oasis in the heart of Singapore’s Central Business District, the CapitaSpring building is a remarkable blend of architecture and greenery. Lighting design firm Nipek sought to use light to enhance both the building itself and its verdant plant life.
Designed by Bjarke Ingels Group (BIG), in collaboration with Carlo Ratti Associati, CapitaSpring is a mixed-use high-rise commercial building situated in the Central Business District (CBD) of Singapore that includes offices, serviced apartments, a Hawker Center, restaurants, and public spaces, including two gardens and an observatory deck..
Standing at 280-metres, it is one of the tallest buildings in Singapore, and was designed to redefine and elevate workplace and living standards, while adding an elegant new landmark to the skyline.
Intended to offer an oasis in the heart of the bustling financial district, the 93,000sqm, tech-integrated and verdant skyscraper has transformed the site of a former car park complex, built in the 1980s.
The building’s exterior façade consists of vertical elements that are pulled apart to allow glimpses into pockets of greenery at the base, core, and rooftop. This dynamic interplay of orthogonal lines and lush plant life is presented in the contrasting textures of steel and glass, interweaved with tropical vegetation.
On entering the building, visitors are met with a public rainforest plaza, and the City Room – an 18-metre-high, open public space at the foot of the tower. At the core of the building, between the hardscapes of the offices and the residences, are four connected levels of “organic softscape”, called the Green Oasis – a 26-metre, open air garden for work, relaxation, exercise and events.
The lighting design for this monumental new building was delivered by Singapore and Japan-based lighting design firm Nipek, in collaboration with building owner CapitaLand
Nipek’s scope for the lighting design covered all parts of the project, from the exterior façade and landscape, to public spaces, office lobbies and other common areas. Takahisa Yamaguchi, Associate at Nipek, explained further: “The lighting design team was tasked to provide timeless, elegant, and energy-efficient lighting schemes for the project.
“For the façade lighting, after many rounds of studies and exchanges of ideas with the architects, the lighting concept of ‘focusing on the greeneries as the project’s unique feature’ emerged. It was to celebrate the Oasis in the heart of the city.”
A key part of this urban oasis is the abundant greenery visible within the façade of the building. As such, Nipek sought to use light to highlight this unique feature of the building.
Yamaguchi continued: “The greenery visible through the openings in the façade is an iconic element of CapitaSpring. The façade lighting focuses on highlighting this greenery, which can be found in the form of green pockets on the lower floors and the Green Oasis.
“Lit trees at night express the uniqueness of the façade, and the greenery in the crown contributes to the beautification of the CBD skyline at night.”
Inside, public spaces embedded in the office tower provide a relaxing environment for office workers, with light and shadows on the floor and ceiling created by illuminating trees, but also create an inviting atmosphere that feels like being outside, while being inside the building.
To bring this concept to life, the type of lighting fixtures, and particularly the colour temperature of said fixtures, was carefully chosen. This was of particular importance when it came to highlighting the façade details. “The key matter was how to make the green pockets on the façade stand out against the background interior lighting without making them obtrusive,” Shigeki Fujii, Principal at Nipek, said.
“It was difficult for the trees embedded in the façade to stand out at night from the deep green trees typical of tropical Southeast Asia if simply illuminated with usual white light. Therefore, we came up with the idea of mixing pastel green coloured lighting with 4000K white light to emphasise the green in a subtle way. It was almost to create an illusion that the greens are livelier and fresher after dark with a lighting trick, without making it too obvious.”
As part of the façade lighting approach, one of the major considerations for the lighting design came with the podium level and parking floors, and how their night-time appearance would impact on the overall look of the building; the Urban Redevelopment Authority (URA), the Singapore government agency responsible for urban development, required that the lighting at the car parks on the podium levels would not negatively affect the visibility of the building façade at night. “Because the car park levels are surrounded with perforated façade panels that can become almost transparent at night, it could allow passersby to see the ceilings of the car park levels from the nearby streets,” Fujii continued.
“It was therefore necessary to consider whether the entire façade of the podium would appear evenly illuminated and not adversely affect the green pockets. The aperture ratio of the façade screen was precisely designed by BIG; an actual scale mock-up was made and Erco’s excellent glare control downlights installed in the parking lot. The fixtures along the façade are shielded on one side, and are not visible from street level outside.”
A core focal point for the building’s interior is its vast, 18-metre-high lobby space. The sheer volume of such a space presented a lighting challenge to Nipek, but Yamaguchi explained how this enormous space was brought to life. “The challenge was to showcase the high ceilings and different materials on the wall surfaces,” he said.
“The striking polished red travertine walls are lit from above by Erco’s linear wall grazer fittings concealed in the ceiling coves. The board-formed concrete panels on the core walls are entirely illuminated by Erco’s high-ceiling wallwasher downlights, so that the entire wall can b e seen from outside the lobby. These considerations, along with the contrasting brightness of spotlights on the floor, create a sophisticated and modern office lobby.”
Topping the building is the Sky Garden – the tallest publicly accessible observatory deck in Singapore. The 51st floor garden offers a panoramic view of Marina Bay, and also doubles as Singapore’s highest urban farm, producing fresh produce for the building’s restaurants. Lighting here was kept at a low level so as not to disturb the viewer’s perspective of the city’s nightscape, reducing light pollution in the process. To keep continuity from the car park level façade, there are pockets in the rooftop façade where trees are highlighted. Elsewhere, the minimal lighting comprises strip lights integrated into planter kerbs, and decorative bollard lights. The pathway and landscape are also rhythmically illuminated, contributing to a pleasurable walking experience.
CapitaSpring has achieved the Building and Construction Authority’s (BCA) Green Mark Platinum rating – one of the highest green building ratings in Singapore, as well as the BCA Universal Design Mark GoldPLUS Award for its landscaping. Yamaguchi explained how lighting helped to contribute towards these ratings. “It was necessary to reduce overall power consumption for the lighting fixtures in the project, but at the same time, it was necessary to create the lighting environment expected by the client.
“To achieve this, a comfortable contrast was created by clearly defining areas and elements that should be illuminated, and those that should not. This not only reduced the number of lighting fixtures and their power consumption, but also emphasised the lighting concept by providing visual contrast.”
Fujii added that throughout the design process, Nipek worked in close collaboration with BIG. “We were given freedom, but they did not just leave us to it,” he said. “Instead, they were great collaborators who gave us clear visions and inputs. We worked in tandem with them to determine how the lighting fixtures would fit within the architectural language.”
In close collaboration with the architects, this remarkable project quickly became a new landmark in Singapore, grabbing the attention of people within the city. Reflecting on the project, Yamaguchi shared his thoughts on the overall design: “The lighting of the trees with a mixture of white and the green colour from the optical lenses accentuates the liveliness of the trees more than expected, and the shadows of the white and green leaves that appear on the soffit create an interesting look.”
He concluded: “The lighting not only provides the necessary brightness for the space, but also emphasises the architectural concept by creating visual hierarchy at night with the lighting design.”
Mojang Studios, Sweden
At the newly renovated headquarters for video game developers Mojang Studios, Reform used light to create an inviting and altogether more homely environment.
Swedish video game developer Mojang Studios, best known as the producers of Minecraft, has recently undergone an expansion and renovation of its Stockholm offices as part of its continued growth and expansion.
Local designers at Reform were brought in to spearhead the renovation, updating the office space to create a more inviting working environment, including the lighting design.
Beata Denton, Lead Lighting Designer at Reform, explained: “A strong theme was to enhance the internal staircases, to make them central, as a nave between the floors, with light, sound and plants.
“We had workshops with representatives from the different competencies within the company; they wanted better lighting than what they had, specifically regarding adjustability both in workplaces and in meeting rooms. Some of them even considered the lighting to be more important than the interior design.”
These workshops led to the creating of a design concept that was built around key words and phrases – friendly, playful, practical, with no office feeling, while injecting some fun. “We wanted the right light in the right place at the right time as a starting point,” Denton added.
Throughout the office space, the working environment was designed to meet high standards in terms of lighting, acoustics and accessibility, creating peace of mind for staff working there. A key part of this was to make the lighting controllable and individually adaptable, so that the user can influence their own lighting environment.
Denton explained: “Since a lot of the work is done on computer screens, creating graphics for the Minecraft world, we wanting to give staff the possibility to switch off direct lights. There are suspended linear lights that are controllable, such that two opposite desks use the same light. This is a more costly solution than what would be needed for less sensitive colour and graphic related tasks and workplaces. But it is always important for the individual to be able to adjust light levels, with dimmable general light in zones over larger work areas, combined with controllable desk lights.
“In shared workspaces, the desk light is usually the most relevant solution to personalised lighting. Who otherwise would decide on the light levels for 20 individuals with different eyes, ages and preferences?”
Another aspect that Reform wanted to bring in was an element of surprise, particularly in the communal, transition areas. Denton continued: “Passages and cloakrooms have recessed low lighting in walls as opposed to light from above. The breakout areas and lounges are important relaxing spaces, where coming from the artificial world that they are creating, they instead want the real and tactile materials, soft lighting, and a cosy feel with warm light at 2700K.
“The central staircases were given a feeling of surprise and life by integrating moving lights. In the smaller spiral staircase, we mounted a projector with an animation wheel creating an image of slowly moving water in a blue/green colour. The image is projected on the ceiling of the restricted space; this works well with the space and becomes a feature, making climbing the stairs more relaxing and dreamlike.
“The bigger staircase in the main lobby was already in place, constructed of black steel with open steps. We had the back side clad with living moss, into which we integrated fibre optics to give an illusion of dew drops glimmering in the morning sun.
“In the main conference room, we wanted to add some natural and harmonious feelings, rather than the traditional conference feeling. We chose an organically shaped suspended fitting, of course dimmable with scenario settings, and combined this with accent lighting onto curtains all around the perimeter of the room.
Within Mojang Studios’ offices are social “Hubs” located on each floor. Alongside coffee bars and meeting areas, the Hubs act as specific “magnets” to make people want to explore and move between the floors. These include a games room complete with billiards and arcade games, multi-function rooms for workshops or yoga, a sound studio, and creative labs.
“The Hub is centrally placed in the building, without any direct daylight,” Denton explained. “We created a ceiling above the main touch down table, with tunable white light to suit individual preferences or the time of day. Mojang’s graphic designers designed a Minecraft cloudscape print for the diffusor – square and rectangular clouds as opposed to round ones.”
While the Hub takes some inspiration from the blocky, modular aesthetic of Minecraft with its light box ceiling, Denton added that Reform shied away from taking a similar approach with the general lighting throughout. “Other than in the Hub, we felt that the light would rather enhance the design, which is in shapes inspired by the modular graphics, not so that the lighting itself had to imitate the modular concept. The design guidelines also give more direction towards the friendly, homely but still striking lighting design.”
The move to create a more “homely”, informal lighting scheme was very much a conscious decision on Reform’s part, and ties into the initial concept approach of creating a space unlike a “traditional” office.
“Our interior designers worked closely with us in every part, we were creating the space together with regular internal workshops and meetings to bring the mood and atmosphere to life,” Denton added.
“The workspaces are totally to the highest standard technically, as well as the individually adjustable lighting. Another very important design choice was that all work desks for more permanent use are located by windows. This adds to the comfortable, homely feeling while being beneficial to health and wellbeing.
“The building itself is stunning, a striking old brewery made of brick with tall chimneys. It sits right on Lake Mälaren, looking out at the city hall right across the water, this gives a special relationship to natural light from basically all rooms. Its massive walls give a certain robust and characteristic feel to every corner of the space. The interior design enhances and uses this with the design of custom-made seating by the windows, and little alcoves with integrated lighting.”
Throughout the workspace, architectural lighting is offset by decorative pieces such as pendants and wall sconces. As with all of her projects, Denton was keen to ensure a harmony between the architectural and decorative elements. “We always say that all the lighting combined creates the lighting of the space we work with,” she said. “We try to abolish the division between ambient and decorative. That often leads to doubling up on lights, which is really wasteful, so we create the lighting with every fitting as an integral and equally important part of the scheme.”
This approach has led to a design that is warm and welcoming – a far cry from the typical scheme one might expect in a workplace environment, but one that will be of great benefit to all staff and visitors.
Great Sutton Street, Conran and Partners Studio, UK
When architecture and interior design firm Conran and Partners moved to its new premises in Clerkenwell, London, it called on Into Lighting to develop a lighting scheme that enhanced the “hospitality” feelings of intimacy and cosiness.
Architecture and interior design firm Conran and Partners has recently moved to a brand new headquarters in the heart of Clerkenwell, London.
Designed by the studio itself, the move sees Conran and Partners relocate its 70-strong team from its longstanding headquarters in Butlers Wharf – where it has been based for more than three decades – to a new, two-storey workspace that has been transformed into a creative hub in London’s key design district.
Following the passing of its founder, Sir Terence Conran, last year, and the global pandemic, the move to a new premises is part of a wider recalibration for Conran and Partners after a period of rapid evolution that included the expansion of its international reach with the opening of a Hong Kong studio in 2018. To coincide with the relocation, the studio has also undergone a rebrand, with a new company look that it believes “better reflects the ethos and design principles of the practice today and into the future”.
Situated on Great Sutton Street, Clerkenwell, the new studio occupies the ground and lower ground floor of an existing building. The two floors are connected at each end by double-height spaces and crafted steel staircases, which not only physically connect the spaces, but also allow natural light to penetrate to the lower floor.
The feeling of fluidity is enhanced further by organising the workspaces with as few impenetrable barriers as possible; meeting spaces that span across the width of the floors are formed of large, fluted and antiqued mirror glass panels, with wide, full height sliding doors that maintain sightlines through the depth of the spaces when open, and appear as translucent screens when closed.
The entrance was also kept deliberately understated – rather than being greeted by an imposing or intimidating reception or waiting area, on arrival guests are welcomed into an open reception space where they can immediately see from one end of the studio to the other, with an assortment of activity between, and also down to the level below, courtesy of a large light well and open staircase.
While natural light penetrates from both ends of the studio, a great deal of attention was also paid to the lighting landscape as a whole. As such, Conran and Partners worked closely with Into Lighting and MEP Gloster S-Worx to design the natural and artificial lighting for the space, with the aim of using light to enhance feelings of intimacy and cosiness.
Darren Orrow, Director at Into Lighting, explained how the collaboration began: “Into have worked with Conran and Partners on many projects over the last 10 years; to be asked to collaborate on the lighting design aspect of their new offices was a fantastic opportunity, one we knew would be challenging as the space was to be their new home, so it had to be right,” he said.
“With Conran and Partners acting as architect and interior designers on their own headquarters project, they had a very strong vision for the interiors and lighting. The lighting aesthetic and ambience was to be more hospitality than workplace focused – their vision was for the architectural lighting to be integrated into the interior architecture as much as possible. Where possible they wanted the architectural light sources to disappear, while providing appropriate levels for the different functions of each space.”
As such, Into Lighting worked with the architects to develop an architectural lighting concept that used concealed, low-glare fixtures where possible. A warm white colour temperature of 3000K was used throughout – dropping down to 2700K in integrated shelving and display details – providing a more hospitality feel.
“Conran and Partners really understand lighting and have an extensive knowledge of light fixtures, so the concept was developed around knowledge sharing favourite light fixtures, analysing performance criteria and working out how best to integrate fixtures into the interior architecture,” Orrow continued.
Alongside the warmer lighting, the use of timber throughout adds to the hospitality aesthetic. Blond oak flooring with birch ply ceiling battens softly reflect light and highlight the sense of unity and fluidity throughout the space. In contrast, the flank walls and shelving are constructed out of dark stained poplar ply, while fluted bronze glass panels and screens create additional texture but lift the space through light reflection.
The architects also considered the acoustics of the new workspace; these have been designed to be muted to the extent that open plan discussions can be heard, and a creative buzz is present without being overbearing. To do this, a black acoustic fabric is stretched above the ply ceiling battens to absorb noise disturbance, while also screening off ceiling services and adding to the visual and acoustic calm of the space.
However, Orrow explained how the extra acoustic treatments created some unexpected difficulties for the lighting. “Covid and associated lockdowns meant face-to-face meetings during the design stages were not as often as we would have hoped, and when you can’t be hands on as a team with samples and mock ups it is challenging to work out practical and discreet fixing methods to integrate light fixtures into concealed details,” he said.
“The acoustic treatments made this more challenging, and fixing details had to be carefully engineered to avoid any penetrations. Space was tight, fixtures and fitting methods had to be adapted and cable routing and connections re-engineered.
“Gloster S-Worx, were very proactive in helping explore all avenues and assisting with mock ups to ensure the desired discreet install and cabling of light fixtures could be achieved.”
Across the workspace there are no cellular offices, no division between teams and no hierarchical seating arrangement – a mixture of seating and desk space is provided, including dynamic sit-stand desks with a combination of desk lights and screen bars, to give each team member the tools they need to adjust their workspace throughout the day. Meanwhile meeting spaces offer a variety of environments suited to different ways in which the team can come together; from a traditional board table to more intimate spaces, relaxed sofa areas, a ‘snug’ and a double height ‘theatre’ space at the heart of the studio.
While this creates a varied environment for staff, Orrow explained how the lighting caters to the different requirements of each space: “To help differentiate the spaces, the designed light levels throughout change accordingly to create contrast – the transitional spaces and breakout areas are illuminated to a lower light level to help create a cosier ambience, with the lighting then ramped up as you move into the workspaces and meeting rooms to achieve a good level of functional illumination.
“The fixtures within the transitional spaces are also concealed as much as possible, with low glare light sources to keep the ceilings clean, the suspended linear profile lighting within the workspace provides direct/indirect, which throws light onto the ceiling to help lift ambient light levels. Areas such as sample rooms were designed with specific colour temperatures and beam angles so that material samples can be viewed correctly under both daylight and warmer light.
“Where we have exposed fittings, such as the linear profiles above the working area, the fixtures were specified to ensure the diffuser provided a homogenous light effect with no distracting features.
“The design intent was for the architectural lighting to be sympathetic to the interior design and materiality, and to see and feel the light effect rather than the light fixture to provide a space with suitable light levels throughout, but also creating the correct ambience within each specific area.”
Offsetting the architectural lighting, decorative lighting fixtures were handpicked by Conran and Partners. “Some came from their original office, and some were sourced new,” Orrow added. “The decorative lighting formed an integral part of creating a hospitality look, feel and ambience to the spaces.”
As an architecture and interior design studio, Conran and Partners is often described as “lifestyle designers” with an “aim to design for living, whether that’s for work, leisure, socialising, eating, playing, sleeping, etc.” This ambition can be seen by the firm’s new offices, and Orrow is hopeful that the lighting design contributes to an inviting, inspiring, and energising workspace.
“As Conran and Partners spend more time in the space, for sure there will be small adjustments to the lighting and control as one only ever really understands a space and lighting within when one uses the space regularly,” he said.
“But for now, we are really pleased with the end result, and feel confident that Conran and Partners’ vision has been realised.”
ATI Head Office, UAE
When Dubai-based engineering and architecture consultants ATI moved into its new head offices, the firm’s in-house lighting designers sought to create a scheme that would create a harmonious and comfortable working environment.
Established in 1980, ATI is an award-winning architecture and engineering consultancy firm. Based in Dubai, the company also has offices around the world in Sharjah, Istanbul, Tokyo, Kyiv, Almaty and Moscow, and has delivered end-to-end services on more than 700 projects around the world.
Across the firm, its main disciplines include architecture, interior design, lighting design and landscape design, as well as MEP design, structural design, and construction supervision.
To coincide with its 40th anniversary, ATI decided to relocate its design team to a newer, larger space that better reflected its brand vision and creative work. Located in the heart of Dubai, the firm hopes that the move will help establish ATI within the city’s urban core.
When it came to designing the new headquarters, the goal was to create several unique areas within an open plan, collaborative space, in a bid to facilitate and inspire employees while maintaining a future-oriented working environment. Lighting for the new office space was designed in house by Mohannad Al Salkhadi, Principal Lighting Designer at ATI.
Spanning across 460sqm, the office space consists of four separate adjacent units, where a combination of both direct and indirect lighting was used throughout. When developing the lighting concept, Al Salkhadi was keen to take into consideration the working environment, as well as employee wellbeing. As such, it was important for the lighting to follow the layout of the workspace to balance the use of direct and indirect lighting.
Luminaires were carefully selected and distributed to serve light “where needed, when needed and however needed”. To achieve this, a thoughtful process of product sourcing and evaluation took place during the design stage, which included looking at a number of different technical specifications.
The first of which was light distribution beam angle; an essential criterion of the design was to avoid flooding the space with unnecessary light. As such, a variety of beam angles was used, including narrow, wide, and elliptical beams. This was in part due to the special interior architecture, which consisted of different volumes, along with the office space. Enhancing this further, to ensure the right amount of light was used within the target workplanes, each desk space was provided with a luminaire that delivers the exact amount of required light.
Complementing the abundant sunlight entering the space, a CCT of 4000K was selected for the artificial lighting, while a CRI as high as 90 was a mandatory requirement, due to the heavy use of building material samples where the best appearance is needed.
Luminaires formed an important element of the interior design, and as such were selected to integrate seamlessly and proportionally within the surroundings. In the studio’s open space, linear suspended luminaires were placed to perfectly match the workstation lengths. Each individual luminaire provides separately switched direct and indirect light, giving staff the freedom to have a preferred mood at any time. In areas such as the library, garden and sample room, fully adjustable spotlights were provided to adapt to ever-changing events and displays.
On entering the workspace, visitors are greeted by the main reception area. Here, the lighting design needed to emphasise the main interior design features, such as the unique wooden structure used to frame the space. The spread of light therefore had to enhance this perspective by highlighting the main inflection lines of the wood; to achieve this effect, a spotlight was placed where the surfaces changed direction. In addition, features such as the ATI logo and greenery have been highlighted by a combination of medium and wide beam angles, maintaining the contrast between the objects.
Elsewhere, in the main board room, a bold decision was made to eliminate the use of downlights and suspended lighting – instead, lighting was designed on three layers; hidden cove lights provide indirect light, while lines of light integrated within the wooden ceiling take care of direct light. Additional ambient lighting comes from concealed shelf lighting.
Elements of this approach continue in the CEO and Executive Director’s offices, although this room did require its own character. Alongside a soft, homogenous colour scheme, lighting was expected to seamlessly blend in with the wider interior design. Besides indirect cove lighting, a set of well-studied spots were placed between the ceiling’s wooden, slatted details to highlight the separate “islands” of the room – the desk and meeting space.
In the communal spaces, a slightly different approach was taken with regards to the lighting – in the sample room in particular. As the office deals with a wide variety of building material samples, the sample room is considered a live testing stage for all materials, appearances, and matchings. Because of this, the area was illuminated with fully rotatable and adjustable surface spots. With a CRI of +90, coverage from opposite angles to cancel shadows, and under-cabinet integrated lights, every corner of the room will receive the required light needed for internal materials discussion and sample presentations.
Breaking away from traditional office spaces further, the renovation features an indoor “garden” and library space on route to its communal, central gathering hub. Intended as a space for casual discussions and interactions, the lighting was designed to match, providing the right amount of light with the desired contrast to create visual separation.
Continuing the more relaxed ambience, the office’s “lounge” space is considered a favourite spot for many clients and guests. Furnished with an organic feel and surrounded by plantation, the wooden ceiling provides the ideal housing for slim linear lights that merge in a perfect fit, blending in with the framework of the space and giving maximum visual comfort.
The main workspace, dubbed the “Studio” was designed to be simple and elegant. Based on a module of four workstations, the Studio allows ATI’s team of designers to have an easy-going workflow between different disciplines. Each workstation module is topped with a suspended white linear light with separately controlled direct and indirect light. Suspension height was also taken into consideration to allow for the perfect spread of indirect light.
On completion of the project, Al Salkhadi explained how different the process was, designing the lighting for the firm’s own office space: “Keeping in mind that even the interior design as also in-house, we were able to confidently design each of the spaces to make sure that they will be unique, yet in harmony with the rest of the office space.
“The lighting helps to highlight each of the areas, creating visual boundaries based on the contrast of lighting levels. It also provides the space with an energetic atmosphere.
“The interesting part was the opinions of the rest of the team; with a variety of professions and backgrounds, we had lots of different feedback. But when we explained to them the preciseness of the lighting design, and the reasons why every part was designed the way that it was, they started to understand and appreciate it more.”
Hub Lighting & Innovation by Kafkas
The Hub Lighting & Innovation by Kafkas is a unique space in Greece that exhibits all the innovative technologies, applications and end-to-end solutions in the field of lighting and building automation. It is already considered a reference point and a meeting hub for architects, designers, interior designers, technical companies, end customers and investors, as well as hoteliers interested in leading lighting and automation solutions. It is an ever-changing space that highlights the catalytic role of lighting in Architecture, where lighting is constantly evolving with the help of technology. It serves as a platform for people to express their views and experiences on lighting, while being an eternal source of inspiration for professionals and non-professionals alike. Each space is designed to promote lighting as one of the most defining factors in architectural design through interaction and experimentation.
Zumtobel Group host event at Serpentine Pavilion
(UK) - On the 1st of September 2022, more than 160 architects and lighting designers attended a private event from Zumtobel Group at the 21st Serpentine Pavilion. Open annually from June to October, the Serpentine Pavilion commission has become an international site for architectural experimentation and presents projects by some of the world's greatest architects.
The evening opened with a welcome from key representatives from the Group, including Marc-Andre Rusch, VP Region West & South Europe; Isabel Zumtobel, Head of Arts & Culture; and Tom Lobak, Regional Sales Director for London Specification.
Natalia Grabowska, Serpentine Curator, walked guests through this year's design - Black Chapel by Chicago-based artist Theaster Gates. The structure, realised with the support of Adjaye Associates, references the bottle kilns of Stoke-on-Trent, the beehive kilns of the Western United States, San Pietro and the Roman tempiettos, and traditional African structures, such as the Musgum mud huts of Cameroon, and the Kasubi Tombs of Kampala, Uganda. The Pavilion's circularity and volume echo the sacred forms of Hungarian round churches, and the ring shouts, voodoo circles and roda de capoeira witnessed in the sacred practices of the African diaspora.
After, the formal element of the evening concluded with Katja Leszczynska, Associate Director of Aecom, regaling the audience with the story behind Aecom’s lighting design for Black Chapel.
The site for contemplation and convening was bought to life with luminaires from the Group, including Vivo II (Zumtobel) spotlights for the main pavilion space and Contrast (Thorn) architectural floodlights for the exterior pathway, all connected and controlled by Zumtobel's Litecom Lighting Controls system.
Following the informative talks, clients were given the opportunity to eat, drink and network to the tinkling of a jazz trio.
The Pavilion begins its life in Kensington Gardens. However, it will be re-sited to a permanent location in the future. In line with the Zumtobel Group's commitment to sustainability, it is designed to minimise its carbon footprint and environmental impact, adhering to the Serpentine's sustainability policy. The predominantly timber structure is lightweight and fully demountable, focusing on sustainably-sourced materials.
Delta Light to host LightLife Observation Exhibition from Designer Chia Huei Lu
(UK) – Delta Light’s Central London showroom will host and sponsor up-and-coming lighting designer Chia Huei Lu’s highly anticipated first lighting exhibit in London, LightLife Observation, utilising Delta Light products to capture and implement her vision.
The light observation room will officially open on Tuesday 20th September at the Delta Light London showroom with an evening event from 5pm to celebrate the launch. The exhibition will be open to the design community and the public from 20th – 24th September.
The goal is to light up the space and also the mind by creating an immersive mindfulness experience culminating in a meditation practice. Audio will guide people throughout the process, urging them to pay closer attention to consciousness and inner thoughts that correspond with the changing environment presented by light scenes. The session will close with a meditation practice and an experience where people can alter the light settings to create their ideal environment for mindfulness.
The room is designed to present the transition of light coming through a window. The ambient light that mimics the daylight effect is created with Delta Light’s RGBW linear products with wall wash optics. The window paper captures the shadow of plants, which illustrate the scenery behind the window. By using Delta Light’s Spy Focus spotlight projecting from different directions, the view is constantly changing, and the room is lit with different light levels. To complete the experience, a soft golden glow will appear at the centre, this represents the moonlight or sunlight, and also signifies the light from our inner heart during the mindfulness practice.
This event is the creation of Chia Huei Lu, a lighting designer, and her mentor, Ruth Kelly Waskett. Lu is a winning mentee of the Silhouette Awards 21-22, an awards mentorship programme launched by Parrot PR and Marketing and Archifos to showcase emerging talent within the lighting industry. Waskett is a lighting consultant with a background in engineering, lighting design, and academia. She is a former President of the Society of Light & Lighting, a regular contributor to guidance documents, and a visiting lecturer at the Bartlett School, UCL.
The pair’s vision aligned to create the design of this project, with Waskett’s passion about the impact of daylight on the health and wellbeing of building occupants complementing Lu’s focus on raising awareness of the relation between light as an essential element of our environment and how it can be part of meditative practice to benefit our mental health in daily life.
Lu explained the inspiration behind the LightLife Observation Exhibition: “Our perception of the world is influenced by our state of mind. I have my creative roots in theatre as a trained dancer, where I discovered how light evokes human emotions. Light is not just about seeing – it is about feeling the space. LightLife is to present my vision of bringing light into our life through mindfulness practice. By focusing on the experience of users within a space, both mentally and physically, and utilising new technologies to keep the design environmentally friendly.
“I hope attendees will come with an open mind to observe the light scenery, and they will be able to identify the simple pleasure that we can all encounter. I am proud to have worked with Ruth and Delta Light on this event, collaborating with people who have shared beliefs to develop my creative and career journey.”
Andy Barnett, UK Area Manager at Delta Light, added: “We are delighted to host Chia’s event in our showroom, and happy to be supporting the young design talent of our industry. It’s incredible to see what the future of the lighting industry holds, with a focus on mental health and sustainability at the forefront.”
To RSVP your space for the opening event on Tuesday 20th September from 5pm, email marketing@deltalight.co.uk.
Workspace Design Show to return in 2023
(UK) - After a hugely successful debut edition, Workspace Design Show returns to London’s Business Design Centre on 27-28 February and will once again be the venue where creatives from the UK’s workplace industry gather to discover the latest design innovations in workspace design.
With the theme of this year’s show being ‘Destination Workplace’ there will be more than 3,000 workplace professionals looking to source the latest furniture, lighting, acoustics, surfaces, storage, materials, tech and biophilic products and solutions to transform their office interiors.
Gensler, the worldwide integrated architecture, design, planning, and consulting firm will be designing the Show entrance around the theme of ‘Destination Workplace Rebirth’. Becky Spenceley, Design Director at Gensler, who is leading the project, said: “It feels like there has never been a more exciting and yet equally unknown time in the future of workplace design. We are inspired by this synergy between a new era of workplace and a new outlook on how we can care for our planet, and how we as designers can affect that through pioneering and sustainable design. It’s about fresh perspectives to enable new ways of working and create unique and tailored destinations for people, hence the overarching theme of Rebirth.”
Over the course of the event there will be a diverse range of speakers, within an enticing talks programme, providing three Talks theatres which attendees can choose from. Refreshing, post-Covid opinions will be discussed in the Talks Lounge, beautifully curated by The Furniture Practice. In addition, attendees will be able to listen to the leading lights from architecture and design, and end-users talking about the latest trends, challenges and innovations in the workplace sector.
New to this year is the Bio Materials exhibition, designed by BIOHM, with biological systems at the heart of its inspiration. This will combine ideologies of the circular economy and human-centred design with future-tech, representing an exciting opportunity for visitors to discover advanced materials, that will be crucial to the future of design.
Major international architecture practice BDP is responsible for ‘Change by Design’ a lounge space concept for the 2023 Workspace Design Show. This will provide a discussion piece surrounding the current climate crisis and will question the impact of workplace design on the natural environment. It represents a problem-solving approach that will demonstrate how the use of recycled, reused and bio materials in design projects can help to shape a low-carbon future.
The FIS, (Finishes & Interiors Sector) Innovation awards will also take place at the show, recognising outstanding innovation in the finishes and interiors sector across various categories.
The Workspace Design Show party will also be making a welcome return, this time bigger, bolder, and better. The show will also provide visitors with the chance to explore the latest product launches that are transforming the employee experience in our workplaces, creating spaces for people to harbour creativity and enjoy working in.
