Matt Waring

Apple Marina Bay Sands, Singapore

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

With every new Apple store that opens around the world, there comes with it a fervent buzz of excitement not typically seen for retail settings.

Owing to a long-standing relationship with Foster + Partners, the tech giant has over the years become almost as renowned for the beautiful design of its stores as it has for the products on show inside, turning the locations into landmark destinations in and of themselves. Indeed, it’s rare to see an Apple store not alive with activity as visitors come to experience the eye-opening locations.

One of the latest additions to its impressive portfolio of retail destinations is Apple Marina Bay Sands. Opened to the public in 2020, the store stands as a distinctive presence on the already iconic Singapore Bay, a stone’s throw from the Moshe Safdie-designed Marina Bay Sands hotel.

A floating orb on the water, the 30-metre-diameter structure is a fully glazed dome with a black glass base, complementing its sister pavilions through its scale and materiality. Appearing as an island in the water, it is only tethered to the promenade by a small bridge.

Described as its “most ambitious retail project” to date, the design of the store is, as with all recent Apple stores, the result of a close collaboration between Apple’s design teams and the integrated engineering and design team at Foster + Partners.

David Summerfield, Head of Studio at Foster + Partners, said: “Apple Marina Bay Sands is all about the delicate interplay between transparency and shade. The structure dissolves the boundary between the inside and outside, creating a minimal platform that floats gently in the water, looking out over the bay and the spectacular Singapore skyline.”

Alongside the gentle ramp that leads from the bay’s boardwalk, the store can be accessed via The Shoppes at Marina Bay Sands, a nearby shopping complex; a beautifully curved stone entrance, flanked by Apple’s signature Avenue display on either side, a 45-metre-long underwater tunnel leads directly to a set of dramatic escalators that take visitors on a “kaleidoscopic journey” into the heart of the domed space.

The transition from the heart of the retail centre to the serene environment of the store gives customers a dramatic, exhilarating experience that culminates with spectacular views across the bay and towards the city.

Structurally, the dome acts as a hybrid steel and glass shell, where the grid of the steel sections supports the weight of the glass and shading, while the curved structural glass panels restrain the steel elements laterally and stiffen the overall form against lateral loads. Each of the 114 panels of glass is carefully selected to meet glazing indices as prescribed by BCA Green Mark, Singapore’s own sustainability rating system, while integrated solar shading devices keep the interior cool.

Each of the multifunctional concentric baffles reduce in size as they progress towards the top of the building, providing acoustic absorption for the store. More importantly, they diffuse and reflect the daylight to the baffle above, creating a magical effect and dematerialising the structure. At the top, a semi-opaque oculus provides a dramatic shaft of light that travels through the space, reminiscent of Rome’s famous Pantheon.

Stefan Behling, Senior Executive Partner at Foster + Partners, added: “The dome appears ephemeral. The effect is very calming, and the changing intensity and colour of the light is mesmerising. It is not only a celebration of Apple’s incredible products, but a celebration of light.”

Indeed, lighting design, also created by Foster + Partners, was an integral element of the project from the outside. During the day, the transparent dome reflects the colours of the surrounding water and sky, while the interior is flooded with natural light, while caustic reflections bounce off the water’s surface and onto the baffles. In the evening, subtle interior lighting transforms the appearance of the dome. As daylight fades the concealed baffle lighting slowly ramps up, emitting a warm, glare-free glow. 

The baffle lighting is carefully integrated within the dome’s architectural fabric, to ensure that the linear light source, or any of its reflections, is not visible from normal viewing angles. The intensity is set to a gradient, which gradually tapers off towards the lowest baffle.

At floor level, custom table-mounted lights provide local task illumination on the display tables, allowing the remainder of the floorplate to be lit by indirect baffle lighting. By keeping the ambient light levels lower, reflections in the glazing are reduced to help reveal the spectacular, panoramic views of the Singapore skyline through the 360° curved picture windows. 

Viewed from the exterior, the restrained, subtle interior illumination makes the dome’s interior space appear as an almost seamless continuation of the Marina Bay waterfront – the overall concept idea for the lighting was to emphasise the dome structure without losing the transparency at night.

This feeling of continuity is extended into the interior design of the store; the “Garden City” ideal of Singapore flows from the promenade into the interior spaces, with 10 trees placed along the perimeter, providing additional shading and soft shadows through the foliage. Set within leather-topped planters, this creates a comfortable seat for visitors to enjoy the view of the aby. The shading provided by the baffles is designed to deliver ample diffuse daylight to sustain the health of the trees.

Although ambitious in its scope, and in its design, Apple Marina Bay Sands acts as not only a celebration of the brand’s highly sought-after products, but as a celebration of light, and the delicate interplay between transparency and shade. Where many retail environments are designed with the idea of showcasing merchandise and encouraging sales, Apple Marina Bay Sands is remarkable in the way that it is designed as a space to linger, to relax, to enjoy the space and experience the beautiful views of the Marina Bay Sands.

www.fosterandpartners.com

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by Matt Waring

Theatre Royal Drury Lane, UK

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

The Grade I listed Theatre Royal Drury Lane has been standing in London’s West End, in some form, since 1663. One of the oldest theatres still in use in the city, the site has been rebuilt three times across its history, most recently in 1812 by Benjamin Dean Wyatt, although his auditorium was lost in 1922 in that refurbishment.

Now owned by renowned composer Andrew Lloyd Webber, the theatre has been through a full restoration over the last few years, reopening to the public in July 2021.

As part of the extensive work, BDP revitalised both the exterior and interior lighting, bringing a new light to the space while carefully honouring the original 19th century lighting features.

“Our approach was to consider how we could create contemporary lighting effects that clearly drew inspiration from the past,” said Jono Redden, Senior Lighting Designer at BDP.

“On day one, what was apparent was that the client was looking to provide a modern experience within a traditional theatre. The lighting needed to reveal the architecture, provide drama and atmosphere without distracting from the historical relevance of the building.”

With this in mind, BDP developed a concept that shone a spotlight on the heritage lighting elements, which was then highlighted and accentuated with subtle, modern additions.

Colin Ball, Lighting Director at BDP, added: “The concept fuses a combination of stage technologies and the latest low energy LED lamps with the 18th century process of glass cutting and low-level integrated candelabra to create a warm ambience in keeping with the historic interiors and Wyatt’s original drawings.

“Theatre Royal Drury Lane has always been at the forefront of lighting technology, whether whale oil, gas or electricity – and this scheme is no exception. We merged lighting methods of the 19th and 21st centuries; dimming technologies used previously on stage and in the auditoria have been adopted throughout the whole building to maximise flexibility and balance the same level of sensitivity and ambience across all areas of the visitor experience.”

Throughout the design process, BDP worked very closely with architect Haworth Tompkins, undergoing extensive research, even including determining how each paint finish looks in daylight and under artificial light. Drawings, financial records and publications from the long history of the theatre were studied to determine the focus of the lighting in each space, whether low level standard, wall sconce or chandelier. 

Ball continued: “Each individual space looks to the original design of 1812 to determine the focus of the lighting. Using this as our starting point, we employed a series of hidden fixtures to reduce contrast, wash ceilings, spotlight artworks or integrated details to fixed furniture, steps, or handrails. This collection of hidden details suggests that the light emanates from the historic light fixtures.

“Sections by Benjamin Wyatt unearthed from the national archives revealed his desire for low level candle lanterns integrated within the handrails. Although technically very difficult to achieve with modern systems, cable was threaded through original stone and handrails to remain faithful to this intent.”

Another key example of modern technologies used to honour the historical significance of the project came with the recreation of some of Wyatt’s original lighting fixtures; a lantern from one of his surviving stately homes was laser scanned and a virtual model was created and adapted to the theatre proportions, with 3D printed new moulds produced to cast the iron posts using traditional methods appropriate to 1812. One of the last remaining blacksmiths in the country then created the lanterns using the same original technique dating from the theatre’s inception. 

“The new torchieres were painstakingly detailed and fixed directly onto the original balustrades with minimal alterations,” Ball explained. “A carefully calculated internal void allowed all cabling to route internally without affecting the thickness or structural integrity of the main body.”

Meanwhile all diffusers in the chandeliers and sconces were handblown and cut, according to 19th century techniques, including ironmongery and cut glass.

From an architectural perspective, a central part of the project’s vision was to reveal and restore Wyatt’s foyers and staircase – “arguably the most impressive Georgian sequence of public interior spaces in existence”, according to Ball – and to “democratise the previously segregated circulation into the auditorium”.

“For the first time in almost a century, the auditorium can be entered directly from street level without needing to go via the basement level,” Ball continued. “A new lift, along with fully accessible circulation at each level, has ensured that every audience member can now experience the grandeur of the architecture, and by opening up the original foyer entrances on three sides and removing later accretions, the front of house foyer has been restored to its former glory.”

The close working relationship between BDP and Haworth Tompkins extended to the specification process as well, as Redden explained: “Each new lighting type specified started with a conversation on the space, before BDP used our knowledge to find a suitable product.

“We then did thorough sample reviews with the architects, looking at aesthetics, fixing details, light quality, and custom finishes. Almost every fitting on the schedule has in some way been changed from standard. Haworth Tompkins were open to us leading the specification and as the project progressed and trust developed, we were able to influence each other’s packages to ensure the best results.”

Despite revamping the lighting throughout, one of the key tenets of BDP’s scheme was for light levels to be kept as low as possible throughout the day and evening; the optics and finishes of the corridors and spaces were designed with vertical illumination to ensure that the eye could comfortably adjust from daylight, into the 50lx interior of the auditorium. Each corridor leading to the auditorium is lit with a flexible gallery system of accenting paintings, so that while transitioning through these spaces, the eye imperceptibly adjusts to darker light levels. Each change of level or collection of vertical details are illuminated locally to create a space that appears ‘warm’, rather than ‘dark’.

To further add to the ‘warm’ aesthetic, while paying homage to the classic Georgian finishes, BDP used modern technology to give the revamped lanterns a traditional feel, with a theatrical control system creating a “simulated flicker” to be broadcast through the standard lamps, matching the original 1812 lighting scheme as closely as possible.

Redden added: “Flicker speed intensity and times of activation were carefully reviewed to ensure the “candlelight” never became a gimmick and always felt effective.”

While BDP and Haworth Tompkins worked tirelessly to ensure that the heritage elements of this Grade I listed venue were preserved and showcased, Redden explained that it was not without its difficulties. “A huge amount of research was done between the lighting designers, architects and client heritage expert, Simon Thurley,” he said.

“There were constant issues of getting cables to new fittings, where and how to fix original fabric and how to build in flexibility. From a heritage perspective, a big challenge was ensuring what we were proposing provided the right experience for this type of building. The lighting had to add to the drama and atmosphere but never overwhelm or detract from the building’s original form. Safety and inclusion were also challenging and where light levels were kept to a minimum, we had to focus light onto multiple surfaces to increase the perception of brightness and provide contrast to changes of elevation.”

The biggest challenge for BDP though, came with the integration of modern lighting within the historic interiors. In the 1920s auditorium, just as the architecture changed the geometry of the seating and the balconies, the lighting had to deliver expected contemporary standards without a change of appearance.

“We had to take each ‘Empire’ fitting and local ceiling moulding to redistribute and increase the density to provide a uniformity to a modern standard,” Ball explained. “This required a series of fittings to be duplicated with all original fittings improved to the same finish quality. Existing fittings were tested and input into calculation models to demonstrate in advance the lighting improvement. Where the visual duplication was known to fall below requirements to read programmes, a series of discrete hidden ceiling details were included to ensure that every seat had a good light level, but also angle of light, to read a programme.”

Elsewhere, the Grand Saloon repurposes large chandeliers found in storage and re-shaped, moulded and recast in Georgian proportions, while wall lanterns were created from pencil sketches found within the archives. The crystal pendants in the foyer were scaled up to two metres in diameter and fitted with both diffuser and chrome spotlights, remaining true to their original appearance but with hidden projection. Meanwhile, a series of private rooms are mostly lit from perimeter paintings and localised furniture, enabling the crystal pendants to stay dimmed to 10%, while hidden spotlights in the chandeliers provide table accenting. 

Redden added: “As a lighting designer, doing too much or too little was always a concern as interiors changed and we moved further away from some of the original concepts.

“The light output needed to be soft and diffuse without becoming too ambiguous. All the new lighting needed to complement the traditional fitting both in terms of form and in light output.

“For instance, the hidden Erco spotlights in the roof void lighting the artwork on the walls provides a broad, soft wash of light rather than focused frame lighting, as that would be too much at odds with the textured light given from the torchiere crystal diffusers.

“The concealed spotlights above the cornice in the Grand Saloon create a soft, dappled uplight to create the impression of uplight from the chandeliers. With the exception of the building exterior crown, linear fittings used opal diffusers to avoid typical architectural graze lighting that would have been inappropriate in this type of interior.

“Where possible, we used discrete architectural lighting to supplement the heritage lighting. However, the “traditional” lighting was essentially designed and built from the ground up to ensure the correct period aesthetics whilst being purposeful lighting elements.”

Despite the various challenges that the design team faced, Redden can now look back on the finished scheme with a lot of pride, especially having seen how it benefits the theatre as a whole. “Keeping the project going through two years of Covid shutdown required vast amounts of courage and determination from everyone involved, we are very happy with the results and to have contributed our part. 

“The feedback from the client and public has been very positive,” he said. “We were invited to a soft opening and dress rehearsal performance of the new show, and it was fantastic to experience first-hand exactly how the lighting both supports and complements the venue.

“It should be taken as a compliment, but sometimes the success of the lighting also means the level of work done is not easily recognised. People are often surprised to discover the torchieres didn’t exist prior to the refurb, or that the chandeliers have taken years of development. A lot of the lighting goes unnoticed, as it should. 

“One of my favourite aspects is the picture lighting. By turning each space into a gallery, we’ve created a much more unique approach to providing a low level of general lighting that makes sure each room feels welcoming as you move around the building. The architecture, interior design and lighting have an equal balance and the level of coordination is evident between each discipline.”

www.bdp.com

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by Matt Waring

The Boutique at Inside Burj Al Arab, UAE

One of the most iconic buildings in Dubai, the Burj Al Arab Jumeirah has become synonymous with luxury hospitality and awe-inspiring architecture since its opening more than 20 years ago.

Within the landmark hotel, the Inside Burj Al Arab tour gives guests and tourists the chance to visit previously inaccessible areas within the building, including its illustrious atrium and Royal Suite.

One of the spaces within this tour, The Boutique at Inside Burj Al Arab, is a luxurious, high-end retail environment in keeping with the grandeur of the wider building. Lighting for this space came from Nulty, which was appointed by lead designer Killa Design to work alongside interior design firm KCA International and retail specialist Umdasch to design a lighting scheme that faithfully maintains the high level of refinement for which the Burj Al Arab is known.

Ahmed Saliem, Projects Director at Nulty, explained further: “Burj Al Arab Jumeirah is one of Dubai’s most beloved and enduring icons. The history and legacy of the hotel informed our brief for the boutique and wider tour. Our role was to use light to celebrate and enhance the splendour of the hotel – every design decision was in essence a standing ovation to the structure itself.”

The concept for the store, Saliem explained, was to “create a world class retail environment in the mould of a luxury hotel experience”.

He continued: “The original design scheme for Burj Al Arab Jumeirah set the bar very high, so we felt a duty to replicate the grandeur and precision that came before us. We looked at how we could balance layers of light to enhance the way guests experience that space, which evolved into a design philosophy of ‘hidden in plain sight’. In the boutique, this meant carefully concealing light to allow the opulence of the interior design scheme to stand out. Where luminaires are visible, they are beautifully understated and work seamlessly with the overarching interior scheme.”

Within the Boutique, Nulty looked to balance the principles of retail lighting with hospitality, to enhance the ambience within the space while maintaining a consistent design language with the rest of the hotel.

“We used light to elevate the retail experience from both an aesthetic and ambience point of view,” Saliem continued. “On one hand, light helps to emphasise all of the high-end materials that the interior design team have used throughout the space. We concealed laser blade lighting in the reflective ceiling panels to preserve the mirrored ceiling and perfected the colour temperature of the lighting to reveal the depth of the exquisite metallic textures and natural stone finishes on show.

“On another level, light helps guide the eye through the boutique and envelops you in a sense of luxurious comfort.”

The laser blade lighting is concealed between a series of reflective panels to preserve the scheme’s oval-shaped mirrored ceiling. Cove illumination frames the mirrored section of the ceiling by creating a soft glow of light around the perimeter of the feature. Meanwhile recessed downlights have been used sparingly throughout, serving the fundamental purpose of boosting light levels to enrich the overall visual impact of the space.

Elsewhere, integrated joinery lighting has been discreetly incorporated in the scheme at a lower level, highlighting key merchandise such as branded souvenirs and high-end fashion and accessory items. Track fittings are deliberately understated and have been recessed into the ceiling so that only the elegant gold luminaires are visible. The tracks are fully flexible, allowing the system to be adjusted to accommodate different display configurations.

Keeping the lighting minimal was a deliberate design decision from Nulty, done as a means to keep focus on the high-end merchandise and luxury finishes. Saliem explained: “Concealing light within the space was fundamental to the design. Our design was minimally invasive so there are very few visible fittings in the space. Where luminaires are noticeable, they have been chosen to complement the material palette. Joinery lighting picks out merchandising displays and track lighting to add a layer of ambient illumination. The concealed laser blade lighting achieves a shimmering effect across the ceiling and keeps the reflective ceiling as clean as possible. Recessed downlights were only used where absolutely necessary to boost light levels. Nothing that you see from a lighting point of view detracts from the stunning interior.”

To further add to the luxurious feel, the team fine-tuned the colour temperature of the lighting to enhance the overall mood of the space and highlight the metallic textures and natural stone finishes used to accentuate the high-end interior aesthetic. The overall effect is warm and welcoming, and crucially ensures a seamless flow from the boutique to a wider hospitality scheme.

Saliem explained how the lighting complements the various textures and finishes within the space: “Understanding how light works in relation to different materials and finishes is challenging but part and parcel of the role of a lighting designer. You can’t predict how finishes will respond to different light sources if you haven’t done your due diligence, which means taking the time to properly read the aesthetics of a space. This is especially true when you’re working with reflective finishes such as polished stone, mirrors, and glass like we were here. We were conscious of avoiding glare, so we used a balanced level of diffuse illumination and positioned light sources carefully throughout the space.”

Although the Nulty team has a great deal of experience in working with high-end retail projects, for the Boutique at Inside Burj Al Arab, the combination of hospitality and retail lighting principles was a new challenge for the lighting designers – one that Saliem relished.

“We had a lot of fun applying the principles of hospitality lighting to a retail setting,” he said. “It was about balancing the functional requirements of the boutique with the expectations that illuminating a hotel like Burj Al Arab Jumeirah adds to a project. This added a layer of complexity to the lighting design because the boutique doesn’t exist in isolation.

“It was first and foremost an integral part of the Inside Burj Al Arab tour, and secondly an extension of the 7-star hotel itself. We couldn’t allow any shift in terms of atmosphere because this would jar the overall experience of being a guest at Burj Al Arab Jumeirah. Retail schemes can often be fairly neutral in terms of the designs and functional when it comes to the lighting design. The Boutique at Inside Burj Al Arab is the opposite; it’s warm, embracing, and rich in detail.

Throughout the design journey, Saliem explained that there was a constant collaboration between all partners, with every team member pulling in the same direction to create a space that would be in keeping with its luxurious surroundings – one of the biggest challenges of the project.

“Hospitality projects often come with a set of structural constraints that lighting designers have to navigate and negotiate, but we were lucky here to be working with a blank canvas. The boutique was a completely new area of the hotel, so this gave everyone working on the project the scope to think freely and creatively,” he said. “The flipside of this was that the pressure was on to replicate the essence of Burj Al Arab Jumeirah in a newly designed space.

“We took our cues from the building itself though; everyone involved with the project had a collective desire to pay homage to the Burj Al Arab Jumeirah and its long-standing architectural heritage. But within these parameters we were given the freedom to be creative with our lighting design concept.”

Looking back on the completed project, Saliem is satisfied that the Boutique at Inside Burj Al Arab not only complements the wider architecture of the building, but also brings a new experience to the already iconic landmark for Dubai. “This was a unique project because the building itself is the star of the show,” he said. “Burj Al Arab Jumeirah is the Goliath of hospitality design, so our lighting design needed to successfully reinforce the interior design, which needed to successfully complement the architecture.

“It’s reassuring that when you walk through the boutique, it feels like it’s always been there. The space works cohesively with the rest of the hotel, and lighting is integral to this transition.”

www.nultylighting.co.uk

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by Matt Waring