Exchange Square, UK
As part of a wider lighting vision for London’s Broadgate area, Speirs Major has created a tranquil, serene lighting scheme for Exchange Square that enhances the park’s character against the surrounding urban environment.
As cities continue to grow and build up all around us, there becomes a growing need for calm, green spaces within urban metropolises. One recent example of this in action is the newly completed Exchange Square in Broadgate, London.
Set above the tracks of Liverpool Street Station, the tranquil park within the urban heart of the capital offers a much-needed dose of respite and relaxation within the heavily built-up area.
Adding to this ambience after dark, lighting design studio Speirs Major has shaped a warmly evocative blend of light and darkness, revealing the multi-level topography and curved landscape elements, while supporting intuitive wayfinding and ease of access.
Aimed at revealing the natural texture, colour and movement of the various materials and finishes – from foliage and water to stone and wood – the lighting design enhances the park’s character as natural light fades, creating a gentle respite from the harsh urban fabric of glass, steel and concrete.
Speirs Major’s lighting design is part of a wider lighting vision that the studio developed for the Broadgate Public Realm Framework for British Land, becoming the latest project for the firm, following 100 Liverpool Street and 3 Broadgate. The space focuses on wellbeing and open access, marking an important journey for the client in its journey from an office-led campus to a mixed-use, creative environment.
Benz Roos, Associate Partner at Speirs Major, explained the brief for the space further: “British Land was closely involved in the concept development and attended early workshops with us and with architects DSDHA.
“The brief was to support a park-like feel for the square, creating a natural, tranquil feel that would offer people respite from the intensely urban surroundings.”
As such, Speirs Major’s lighting concept focused on how light could help people to “slow down and enjoy a moment”, by creating an inviting, warm ambience with plenty of opportunities to dwell and socialise. Roos added: “We played up the textures, colours and movement to reinforce the sense of a natural park and revealed the unique multi-level topography to ensure safety and aid wayfinding after dark.
“We kept the lighting soft, warm and beautifully integrated within the landscape elements to create an intimate ambience. We worked with the curving topography, proposing the light slots that reveal the terrazzo steps, highlighting the meandering surface of the ribbon retaining wall and underlighting the benches, creating multiple places to stop, sit and enjoy.
“The lighting also responds to the patterns and textures of nature, with soft light to planting and through the leaves of silver birch trees, casting a dappled effect on the ground. The colour of the light adjusts tonally with each season, with warmer white light enhancing the rich autumn leaves and bare wooden branches in autumn and winter, and fresher, cooler white light celebrating the green buds and vibrant leaves of spring and summer. Light integrated into the water feature in the steps also creates beautiful ripples and patterns.”
In line with this concept, Speirs Major opted to keep much of the lighting at a low height, preserving an intimate ambience that encourages easy social interaction. At the perimeter, light for circulation is provided from We-ef luminaires on columns at a human scale, while low-level bollards from DW Windsor reveal the internal routes and low-level planting.
Across the multi-level site, light is beautifully integrated within landscape elements to improve legibility and contribute to the warm ambience; an even wash of light from Architape reveals the dark metal vertical face of the curving ‘ribbon’ retaining wall that runs through the park, while the slatted timber benches that sit above the wall are softly lit from beneath. Elsewhere, slots cut into the faces of the terrazzo step seating and water feature contain hidden light sources, also provided by Architape, creating mesmerising patterns and ever-changing ripples. Integrated handrail lighting came from Stoane Lighting, alongside tree uplighting and projectors, and canopy downlighting, while floor washers in the steps came from iGuzzini.
While the lighting design was intended to foster a welcoming, relaxing environment, Roos added that this was in tune with the core architectural ambitions for the space. “The key considerations for the landscape architecture were largely aligned with those for the lighting: to create a park-like environment that encourages people to meet up, rest and relax within this heavily urbanised setting, while also bringing nature back to the city,” he explained.
“The design focused on creating a bucolic, soft, organic space with a priority to create a space that nurtures both people and plants, promoting wellbeing and biodiversity. The generous planting, curving lines and soft materials create a distinct contrast with the hard granite of the post-modern architecture around it, while the design also prioritises ease of access for all.”
The softer, low-level lighting of Exchange Square creates a warm, intimate atmosphere throughout the space, and Roos added how the minimal, pared-back design was a conscious move on the part of Speirs Major. “Retaining darkness and a degree of shade is always a conscious part of our design process. Not only is this more sustainable and better from an ecological standpoint, but by carefully choosing where we add light, we make use of contrast to shape atmosphere, support improved legibility and wayfinding, and promote a sense of security.”
The decision was also aided by the wider environment in which the park sits, as Roos explained: “There was already a lot of light spill from surrounding buildings, we worked within those conditions to create the right atmosphere for the park. We always try to limit uplight where possible, and in this case the lighting is all integrated or pointing downwards.”
The more restrained lighting approach is a welcome one for a green space within an inner city, and Roos added that, while some clients may have requested higher light levels under the belief that this would improve safety and wayfinding, Speirs Major had a supportive client throughout. “The client and architects were very engaged from the outset with the concept and the approach,” he said. “We had early access to the Broadgate estate management team, so we were able to explain our ideas and discuss their requirements (for CCTV, for example), so that they could be integrated within the approach as much as possible from the start.”
That being said, the lower lighting levels meant that there were some additional challenges when it came to CCTV. Roos explained: “One of the more difficult challenges was achieving the necessary vertical illumination on faces for CCTV and facial recognition software, given the low height indirect lighting approach. We assessed the contribution of light from the adjacent main routes and buildings, balancing the CCTV requirements against preserving the contrast we wanted for the square.”
Followint the project’s completion, Roos reflected on the success of the lighting – and the work of the contractors in bringing the design to life – particularly in creating a welcoming space for people to enjoy.
“We were thrilled to see how quickly people really took to using the space after dark,” he said. “For this project, the details were realised so beautifully by the contractors and the electrical sub-contractor – all done neatly and with immense care, they were a joy to work with.
“One of the major aims of the Broadgate development was a shift from an office-led campus to a truly mixed-use, creative environment. Bringing nature and wellbeing to the fore helps to encourage a more diverse group of people to come and use the public spaces to meet, celebrate, work and relax surrounded by greenery – which in turn fosters creativity, a sense of community and improved wellbeing.
“The right lighting not only allows the square to continue to be used for this purpose as natural light fades, but also shapes a completely different interpretation of the space, giving people a new experience to enjoy after dark.”
Zerostrasse, Croatia
Connecting the Croatian city of Pula, Zerostrasse is a labyrinthian network of tunnels and passages with a gallery at its centre. Local design studio Skira Architectural Lighting developed a lighting scheme for the tunnels that improves accessibility, while showcasing their heritage.
Hidden beneath the Croatian city of Pula lies a series of interconnected, underground tunnels. Built at the time of the Austro-Hungarian Empire, the subterranean labyrinth was used to shelter the city’s population during air strikes on the city during World War I.
Now, the network of tunnels, shelters, trenches, galleries, and passages, dubbed Zerostrasse, has been repurposed into a pedestrian metro, with a central gallery, and a vertical elevator connection to the Historical and Maritime Museum of Istria, which sits atop Pula’s highest hill.
As part of the renovation of the tunnels, led by architect Breda Bizjak of BB Arhitekti, Pula-based lighting design studio Skira Architectural Lighting was appointed to develop a solution that would provide comfortable linear lighting along the 2,700sqm of tunnels.
Dean Skira, Founder of Skira, explained how the studio first joined the project, and how the lighting concept developed: “The town authorities invited us to submit a bid for an initial lighting design concept for Zerostrasse several years ago, as is often the case for public projects. Our bid was accepted, and we were appointed to develop the lighting scheme for the network of tunnels.
“The collaboration with Breda Bizjak was very open and constructive; she was exceptionally familiar with the project, as she presented the concept of its revitalisation as a student. About 20 years later, the idea grew, and the project started with its active role in preserving the fortification heritage and improving accessibility for the museum and its new exhibition space. This indicated that the lighting design had to be immaculate.”
While the reconstruction of the tunnels created new opportunities for movement within the city, the isolation from external influences – particularly daylight – influenced the lighting design concept, as did the raw fabric of the site.
Skira continued: “The concept was apparently as simple as the elements of the project. But when you start to work, you notice the details, the constraints, the collaboration flow, and the overall complexity.
“The lower assembly was built in living rock, so during the renovation, great attention was paid to the preservation of the rock mantle, which necessitated the collection of all electrical installations in one route under the vault, which we then decided to use for the placement of lighting. This assured that no additional elements were added to the space. The complete lighting system needed to be controllable and easy to maintain. The intention was that the tunnels became a new attraction, and a pleasant shortcut from one side of the town to the other.”
Within Zerostrasse, there are two sets of underground tunnels on two levels: the lower set at city level, and an upper complex, lying below the fortress and museum at the top of the hill. The historic network of Pula’s streets, spread out in several concentric rings that organically adapt to the hill’s topography, are cross-connected, and complemented by the underground tunnels, that run in four different directions.
While the idea of illuminating a series of historic underground tunnels may sound like a challenge, for Skira, who has experience in such locations, the prospect wasn’t any more daunting than any other project. “Projects bring along challenges when you care about the result and take responsibility for it, regardless of the location,” he said. “We have had several interesting underground projects realised, like the Postojna Cave and the underpasses in Zagreb, with a lighting theme inspired by the metro map. We are currently working on a peculiar tunnel in Bakar, Croatia, as well.
“However, Zerostrasse was unique. Although it’s a kind of an underpass, the purpose is multifunctional and adaptive, but at first not strictly defined. We had to consider this, alongside humidity and leakage, low ceiling heights, and the preservation of the rock mantle. As well as this, the only surfaces that were physically intervened were the concrete floors and the vertical shaft of the elevator, which is located at the intersection of the corridors.”
The new lighting for the tunnels has been kept deliberately subdued, with linear fittings softly uplighting the cave ceilings. Placed in the metal constructions just below the ceiling surface, the fixtures are hidden from view while delicately illuminating the rocky texture of the tunnels.
Skira explained why the design team opted for a clean, minimal approach for the lighting: “Lighting is always essential in dark spaces, and the lack of windows or natural light influenced our motivation to make the area feel more breathable by providing clear and long-distanced visibility of the tunnel and its natural stone.
“We decided to keep the lighting to the lowest possible level, while still being in accordance with the norms and recommendations. The solution therefore provides comfortable linear lighting along the hallways. There is a gradation in lighting at the entrance points - the light intensity increases when you walk towards the exit for a more comfortable eye adaption. During the night-time, these lights are lowered in both directions.”
Alongside the functional linear fixtures, Skira created pockets of intrigue at points along the tunnels, with red flashes of light illuminating cave holes in the ceiling. He explained the process behind this decision: “When designing lighting, we balance and even rein a very powerful tool, which influences our field of vision. Our impulse is to provide visual pleasure and to make a pleasing environment and conditions for other activities. In private and public spaces, the light should bring joy, help people feel better, and also surprise and entertain them where possible.
“The holes in the living rock intrigued us, and it was clear that we should enhance them and make them attractive, thus they become a focal point for the use of red light, which is the colour of the earth’s core as we imagine it. The effect is hidden, it’s mostly not that visible from a distance, it’s an element of surprise.”
In the gallery space at the heart of the tunnels, which is used for exhibitions, music events and similar activities, additional linear lighting circles central pillars, providing increased illumination for the works of art on display. This is then further enhanced by “pop-up lighting solutions when necessary”.
Since completion, Zerostrasse has received plaudits from across both the design community and the general public, picking up a trophy at the 2021
[d]arc awards in the process. And Skira is grateful for the recognition. “We are humbled by every single award received by fellow professionals,” he said. “We strive to provide projects that push the boundaries of the profession and really embrace challenging projects.
“Zerostrasse affects the redefinition of public space and infrastructural communication networks by providing new opportunities for movement. The isolation from external influences – public content, atmospheric conditions, daylight and sound – is the opportunity for developing a specific multimedia exhibition space. The establishment of vertical communication between the tunnel and the fortress, and the high-quality lighting, made access easier for visitors with disabilities, while the museum has already recorded a significant increase in visitor numbers.
“We wanted to provide a high-quality lighting solution that would ensure a ‘wow’ effect; people seem to recognise this and react to it. Many visitors during tourist season walk through Zerostrasse and post photos to social media with positive comments; they share their experience and enjoy the venue, so our goal is achieved.”
West End Square, USA
With lighting design from HLB Lighting Design, a next generation-park, framed by an innovative technology trellis, transforms a former parking lot into a lush urban retreat within the heart of Dallas’ Innovation District.
West End Square is a smart park located in the centre of Historic Dallas, Texas, recently rebranded as the Dallas Innovation District. The park has become a testing ground for various technologies within the urban environment, such as WiFi, data collection, smart lighting controls, and remote water management and calibration. At the heart of it all is an intelligent water feature with three distinct operational modes that respond to wind conditions.
The project’s concept was organised around three main activity zones: the Frame, which houses task-focused programmes; the Prairie Gardens, featuring meandering garden pathways for a more relaxed and contemplative atmosphere; and the perimeter footpath providing direct access to the park.
The park’s context, surrounded by multi-family and commercial spaces, called for a transformative lighting strategy that enhanced the human experience while focusing on safety, wayfinding, and sustainability.
Using technology and activity zones, the park’s overall goal was to create a space residents could use to increase social interaction and work outdoors. This concept guided the lighting design process in creating a balanced luminous environment, while focusing on each task performed within the different activity zones. Responsible for the lighting scheme was lighting design firm HLB, which became involved in the project through a collaboration with James Corner Field Operations; together they share a longstanding working relationship spanning several projects, including the Miami Underline, Metrotech Commons and Ganesvoort Peninsula.
HLB approached the lighting design by combining cool and warm light sources, as well as using a play of intensity and uniformity to define and separate the park’s high activity areas and contemplative moments. The team developed a hierarchy based on important architectural and landscape features worth highlighting, and the unique programme of each area.
Three main elements were identified, starting with the floating technology trellis, which would become the primary feature and utilise the brightest intensity of light, since it houses most task-related programmes, including ping pong tables, swings, and worktables with integrated power. To keep the trellis canopy completely free of visual clutter, cooler column-mounted direct/indirect sconces illuminate the underside and activities below.
“The technology trellis allows for a shaded environment under the intense Texas sun,” said Eddy Garcia, Associate at HLB. “The challenge arose from the structure itself; we had limited space to mount various systems, including lighting equipment. We had to carefully coordinate with all disciplines (the Landscape Architect, Electrical Engineer, and Construction Manager) to ensure that when installed, these systems did not make the exposed structure look cluttered. As such, all equipment mounting, wiring, and conduit routing was 3D modelled in advance to provide a clean detail for the trellis.
“Our design intent for the project focused on creating a balanced luminous environment that supported the overall vision for the park. Using warm and cool colour temperatures, not only did we provide task-oriented lighting, but by including an indirect component at the Frame we ensured that the overall architecture was highlighted in a cooler light to not skew the finishes within the Frame. In addition, to correctly detail all the fixture and conduit mounting, all luminaires were custom painted to match the technology trellis and minimise seeing the light fixtures.”
Elsewhere, the footpath was considered a medium intensity and transition zone as the team needed to provide lighting for the street, in addition to the park interior. While for the Prairie Garden, general ambient lighting and low-level nuance lighting layers were introduced to maintain a relaxed, romantic, and warm atmosphere.
A 4000K CCT was utilised for the Frame and the sidewalk; and a moonlighting approach adopted for the Prairie Gardens, which provide a natural and soft wash of general ambient light filtered through canopy trees. The internal central garden was designed with two additional layers. The first layer was achieved through column-mounted adjustable area lights casting a cool wash of light through the garden trees, providing general ambient illumination and dramatic shadow play through the canopy trees. A secondary garden layer is achieved through warm low-level bollards with a 3000K CCT at crucial decision points to enhance wayfinding and tree uplights for vertical illumination throughout the garden.
“Light fixtures were strategically selected based on performance requirements to adequately illuminate the various spaces while minimising glare, energy consumption, and optimised optics to provide the light levels and uniformity appropriate for each task,” said Garcia. “Additional consideration was taken to ensure the integration of occupancy sensors within the light fixtures.”
The park’s programmatic needs and proximity to adjacent properties called for a transformative lighting strategy that not only enhanced the human experience at night but aided in sustainability goals and minimised light trespass.
As a steward to the environment and the various sustainability goals, the lighting design and lighting controls were strategically designed to minimise light spill into adjacent properties and minimise sky glow. Most luminaires were selected with appropriate optics and integrated shielding or strategically positioned, where they were either oriented down or shielded by landscape or an architectural element.
Additionally, a wireless adaptive dimming control system was integrated into the luminaires and trellis to lower energy consumption and minimise light trespass within late-night hours. After hours, the lights are dimmed to 10% intensity, activated by movement detection – an invisible forcefield of motion sensors strategically located within luminaires, signage, and the trellis. The lights then remain on at full intensity until five minutes of stillness. In addition to being 46% below the energy code, with this leading-edge exterior control strategy, the project achieved a 64% reduction of the overall connected load.
“Typically, adaptive dimming solutions (automatic occupancy driven dimming) have been widely used for indoor applications via occupancy sensing, but over the last few years it has become a widely viable solution for exterior applications,” continued Garcia. “Most of the dimming response in exterior environments has been used for street lighting, where the lighting control system dims the light at a specific time during the night. When motion is detected via occupancy sensors, each independent streetlight will dim up in response to the motion as the car approaches that individual light fixture. This technology provides operational cost savings and can also enhance safety. Imagine walking down a long pathway and seeing lights getting brighter. You can already be on alert that someone is coming towards you.”
Commenting further, Garcia said: “Architectural lighting design is a practice where we often engage both sides of our brain – art and science – and I like to say that we create poetry when we find the delicate balance between science and art. While designing, we must abide by local codes and ordinances, as well as best practices guidelines including energy codes, path of egress, or light trespass and sky glow requirements. As designers, we need to interpret these codes and guidelines to achieve the requirements properly, while designing for an inspired human experience.
“Shadows and the absence of light is critical for exterior spaces as we must balance not only the lighting within our project, but also the lighting in our surrounding environment and how that impacts our design. As we create spaces, we should consider how to incorporate these elements into our designs, and how the end user will interact with them. Think of evenly illuminated, shadowless spaces such as hospital rooms, which start to feel almost sterile and undesirable to be in. Creating safe outdoor spaces through appropriate lighting for the project and community creates a desirable space while also giving a sense of security through visibility by incorporating a balance of horizontal and vertical illumination, long distance visual cues, and excellent glare control, something that we often lose by over lighting spaces.
“Additionally, by incorporating various layers of lighting through the use of different colour temperatures, a brightness hierarchy, and various high and low-level nuance lighting, we can start using lighting to enhance not just safety, but also wayfinding and placemaking within our exterior environments at night.”
Through the extensive use of BIM modelling, collaboration between the design and construction team, and the use of various IoT technologies, the project sets out to be an example of the future of the urban environment. West End Square provides a venue for community connectivity and interaction in a challenging time of social distancing. Since its opening in the Spring of 2021, the park was immediately embraced by the community and serves as an economic driver for the neighbourhood. The lighting improves visual acuity and supports human wellness, as residents now benefit from access to this safe outdoor space to live, work and play well into the evening.
Reflecting on the project, Garcia told arc: “The resulting project is a beautiful and balanced space for interaction and work. I visited the park after it opened and just sat and observed how users interacted with the park, from people working on their laptops to others walking their dogs or even playing ping pong. Nothing is more rewarding than seeing the impact and life that properly illuminated spaces can bring outdoors. Light can make all the difference.
“I often look at Google reviews and see comments like these that bring a smile to my face: ‘Late evenings, the sun is perched behind a five-storey apartment building. The air is cool. The park is inviting as many visitors stop by to admire its beauty. The park has a calming effect on me, and I am sure others. I could sit for hours. I sat for hours.’”
Atlas Passage, Turkey
An important landmark in the fabric of Istanbul, Atlas Passage has recently undergone a restoration. Lighting for the project was delivered by Lab.1 Lighting Design & Daylighting.
Atlas Cinema and Passage was built in 1870 as the winter mansion of Agop Köçeyan, one of the leading figures of the Istanbul Catholic Armenian community of the time. Opening on to Istikla’, the most famous street of Istanbul, the passage today has an important place in the hearts of Istanbul’s citizens.
As part of a wider restoration project led by Sold Lighting Design & Engineering, which was responsible for the lighting and electrical work of the entire structure, Lab.1 Lighting Design & Daylighting was invited to work on the entrance, passage circulation areas, and the special staircase hall leading to the cinema museum.
The studio’s brief included several important points: the passage should be “remarkable”, inviting people in from Istiklal Street, and more specifically there should be a directive lighting design once inside. Alongside this, as temporary exhibitions can be held in the area, the lighting system needed to be flexible. Finally, since the team was working in a historical building, the surfaces could not be altered in any way.
As such, the Lab.1 team decided to produce a simple, inviting, and elegant lighting design. One of the most important aspects was to ensure the historical building was touched as little as possible.
“We aimed to design lighting that would not steal the limelight from the building, yet work to enhance its architectural design,” said Elif Uyan, Co-Founder of Lab.1 and project lead for Atlas Passage. “For this, we analysed the building and its surrounding environment and tried to tune into what the building wanted from us.
“Our main goal was to reveal the form and details of the building itself. It was already remarkable and through the restoration project it had been stripped of all the excess that accumulated over the years. With the building’s beauty exposed, we didn’t want to start adding ‘role-stealing’ elements back in. We just focused on the light, showing the beauty of the structure.”
Because of the historic nature of the project, the Lab.1 team was not free to place lighting products wherever they wanted. The lighting was therefore designed in a linear concept, reflective of the architectural plan of the passage, emphasising the circulation line. The team positioned a track system in a detail that they discovered in the original state of the building. The spotlights mounted to this track system create illumination on the floor, while the indirect hidden light shows the specially restored vaulted ceiling. Thus, this linear axis extending from Istiklal Street to the other parts of the passage, was emphasised with simple and pleasant lighting merged with the building architecture.
In terms of the light fixtures chosen for this project, Lab.1 paid particular attention to competencies relating to light technique and quality; good glare protection for the spotlights; and the spotlights mounted on the track system needed to have flexible mobility.
While the passage and the building are not among the prime tourist buildings of Istanbul, they are areas that are of great importance and woven into the hearts and memories of most local citizens. The Lab.1 team felt a huge sense of responsibility while working on the project, with their plans checked multiple times before finalising.
“The project had a large-scale restoration, design and inspection team that we worked with for the first time,” said Uyan. “Everyone was very sensitive to the history of the building and in such an environment it wasn’t easy to explain our ideas and have them accepted. We tried to overcome this challenge by showing concept visualisations, examples of good projects and lighting simulations.
“What was useful was to be able to physically show samples of the products and make small mock-ups. In this regard, the fact our project partner Sold, which invited us on to the project, was also the general electrical contractor, made our job much easier.”
In the end it was a project where the entire design team was involved in the process and believed in the end result. Uyan concluded: “The lighting helps to express the architecture’s existing beauty without competing with the structure.”
Skills Army launch photography competition
(Online) – Skills Army has launched a photography competition, inviting participants to tell a story through shadows.
The competition, open to all through LinkedIn, asks entrants to “give a shadow a new dimension”, and to celebrate the power of shadows.
To enter, participants just need to post their images to LinkedIn, tagging Skills Army and using the hashtags #shadowart and #skillsarmy.
The winning entry will win an iGuzzini Pizza Kobra light fitting, designed by Ron Arad.
Licht Kunst Licht publishes Volume 5 of Work Reports Series
(Germany) – The office of Licht Kunst Licht has been publishing its completed projects in the form of work reports since 2005. Now, its fifth volume – Licht Kunst Licht 5: Lighting Design for Architecture – has been published.
Licht Kunst Licht 5 is a comprehensive work, spanning 340 pages, documenting the high quality and technical lighting expertise in the studio’s designs.
“We understand light as an integral part of architecture and always try to realise our projects with as few elements as possible in order to focus on the overall atmosphere,” said Andreas Schulz, Founder of Licht Kunst Licht on the premise of his office’s work.
The respectful and analytical view of the architectural design or the existing built space forms a solid foundation for aesthetically, functionally, and technically sophisticated lighting concepts. Examples include the Oscar Niemeyer Sphere in Leipzig, the National Museum of Qatar in Doha, and the Baden-Württemberg State Parliament in Stuttgart – three of the 18 selected projects presented in the new work report in text and images, with large-format illustrations and comparisons of day and night views. The complexity and special challenges in the design processes for projects such as the German Ivory Museum or the Underground Bicycle Parking Garage on the Novartis Campus in Basel are vividly illustrated using scaled models, as well as 1:1 mock-ups.
Licht Kunst Licht, however, does not exclusively cater to rational lighting design that is tied to architecture. “Our publication shows the entire spectrum of our work and also documents many projects that are known through other press releases, and above all, through the many international architecture and lighting awards that these projects have won,” added Schulz.
The luminaire development department is also featured in the new work report and presents not only the lighting design competence of Licht Kunst Licht but also its special expertise in product design.
In a separate chapter, for the first time, the office introduces selected projects on which the team is currently working. The informative collages include impressions of the Elbtower in Hamburg, the Sagrada Família Basilica in Barcelona, and the large-scale Frankfurt Airport Terminal 3 project.
In her introduction “Light – Space – Art”, Dr. Vera Simone Bader, art historian and research associate at the Architectural Museum of the Technical University Munich, addresses the questions of how light functions in space and spaces with light and invites a discourse on the theory and background of design with light. Using examples from history, art, and architecture, she illustrates the different ways in which light can be perceived on an emotional and aesthetic level.
The fifth volume was once again designed in collaboration with the dedicated team from the Cologne-based studio polylog (formerly F1rstdesign) and, like its predecessors, is published by av edition in Stuttgart. Just like in 2016, the release of the book is to be celebrated again this year: A big book release party will take place in late summer in Berlin.
Entries open for Surface Design Awards 2023
(UK) – The Surface Design Awards 2023 is now open for entries. Now in its 11th year, the awards recognise excellence in material innovation from around the world.
Organised by the Surface Design Show, the awards attracted 180 projects from 24 different countries in 2022, reflecting the desire for international recognition for projects and the architects and designers responsible for them.
The awards are judged by an expert panel, co-chaired by Jonathan Hagos, Director of Freehaus, and Nasim Koerting, Head of Design, The Office Group. The judges are made up of architects and interior designers who have made a name for themselves amongst their peers. They include Charlotte McCarthy, Head of Interiors at Heatherwick Studio; Fiona MacDonald, Head of Learning at the Design Museum; and Nimi Attanayake, Director & co-founder, NimTim Architects.
Together they will determine the winners of the Awards. There are six categories for projects: Commercial Building; Housing, Landscape + Public Realm; Light + Surface; Public Building; and Temporary Structure, plus an Architectural Photography Award. From the individual category winners, the judges will then decide on a Supreme Award.
Last year’s Supreme Winner, the BAFTA Headquarters in London by Benedetti Architects, was described as being ‘truly impressive’ by the judges. Other past Supreme Winners include Squire and Partners, India’s IMK Architects and Steven Holl Architects, headquartered in New York. Sustainability will once again be a leading criterion for every entry and applicants must produce a statement and calculation for the carbon footprint of the cladding/materials used.
Entry into the Surface Design Awards is free, the closing date for entries is Friday 23 September 2022. Judging will take place at the start of November 2022 and finalists will be notified by mid- November. The eventual winners will be announced on the final day of the Surface Design Show at London’s Business Design Centre on 9th February 2023.
Lighting top of the agenda for Landscape 2022
(UK) – Taking place on 28-29 September at Birmingham’s NEC, Landscape 2022 is set to welcome hundreds of exhibitors with a vast collection of products, services, and innovations for the design, build and management of exterior landscaping projects.
Lighting will take a prominent role within the two-day event, with three full CPD-accredited sessions dedicated to the topic across Landscape’s seminar programme.
Michael Grubb, Founder of Michael Grubb Studio, has an extensive portfolio of landscape projects, and in his presentation will focus on one in particular – Lightplay. During his session, he will share the inspiration behind the project, the beauty of the landscaping, and how the area is now celebrating the natural world.
Elsewhere, Lee Gunner from LightPad will discuss the human response to light, and what to consider in order to harmonise lighting within the public realm in terms of light colour, strategies, visual volume and visual hierarchy within the nightscape.
Day Two of Landscape will be focused on women in the industry, and will start off with a networking morning running in conjunction with #YesSheCan. All based at the central bar area, visitors can enjoy a full day of interviews led by #YesSheCan and leading women from different specialties. Women in Lighting have put forward Emily Bedwei and Arianna Ghezzi from Lighting Design International to talk about their experiences, how they push forward in their field, and what they hope for the future.
Registration for Landscape 2022 is free. More information about attending can be found online.
IALD Enlighten Americas announce keynote speaker
(USA) – World-renowned artist Janet Echelman will deliver the keynote presentation at IALD Enlighten Americas 2022, the IALD has announced.
Known for her sculptural pieces around the globe, Echelman works at the scale of buildings and city blocks. Interactions between her work, light, wind and the local environment transfer her pieces from objects you look at into an experience that you can get lost in.
Her TED Talk, “Taking Imagination Seriously” has been translated into 35 languages, with more than two million views. Recipient of the Guggenheim Fellowship, Harvard Loeb Fellowship, Aspen Institute Henry Crown Fellowship, and Fulbright Sr. Lectureship, Echelman received the Smithsonian American Ingenuity Award in Visual Arts, honouring “the greatest innovators in America today.” In popular culture, Oprah ranked Echelman’s work #1 on her List of 50 Things That Make You Say Wow!, and Echelman was named an Architectural Digest Innovator for "changing the very essence of urban spaces."
IALD Enlighten Americas 2022 will take place on 29 September – 1 October at the Westin Rancho Mirage in Palm Springs, California. The full conference schedule includes 29 experts speaking across more than 18 educational sessions. Registration is open, with more information available here.
Michael Grubb Studio promotes Daniela Rendon to Project Lighting Designer
(UK) – As part of its ongoing response to significant levels of rapid growth, Michael Grubb Studio has promoted Daniela Rendon to Project Lighting Designer.
Having worked for the studio since 2019, Rendon has demonstrated her commitment to the lighting design industry. Her skills and knowledge have undoubtedly contributed to the success of many of the company’s recent projects.
In her new role, Rendon will manage design projects at varying stages of completion, working with a senior team member to ensure deadlines are met. She will put her self-motivation, good initiative and organisational skills to good use, as well as demonstrating her ability to liaise with suppliers, clients and design teams.
Rendon will be able to draw on her vast experience of working on projects of varying scales, across multiple sectors. These include the award-winning Bath Abbey project, King’s Walk Shopping Centre in Gloucester, and Woolsery in Devon. She has also been an active participant in industry events such as the creation of a lighting installation at the [d]arc Awards 2019, as well as being crowned a Technical Award Winner at the 2021 SLL Ready Steady Light challenge.
Speaking of her new role, Rendon said: “I am very excited to start my new position. I truly appreciate the opportunity and look forward to continuing to grow, as well as contribute to the creative and talented team of Michael Grubb Studio. I feel extremely motivated and encouraged by the team support, which makes coming to work an absolute joy.”
Michael Grubb, Founder and Managing Director of Michael Grubb Studios, added: “Daniela has proven herself to be a committed team member, with excellent lighting design and project management skills. In her new role, she will be able to build on these, as well as taking a more prominent position with clients and other stakeholders.
“I’m extremely proud of Daniela and it has been wonderful to watch her grow and develop as part of the Michael Grubb Studio team.”
GILE 2022 attracts more than 128,000 visitors
(China) – The 27th edition of the Guangzhou International Lighting Exhibition (GILE) took place at the beginning of August at the China Import and Export Centre. Taking place alongside the concurrent Guangzhou Electrical Building Technology (GEBT) show, this year’s event saw a significant rise in visitor numbers, with the two fairs attracting more than 128,000 visitors from 58 countries and regions over the four days – a 31% increase from the previous edition.
Commenting on this year’s fair, Lucia Wong, Deputy General Manager of Messe Frankfurt (HK), said: “As the industry steps into the new era of lighting, new technologies and business models will need to be discovered to meet the changing demands of consumers. That’s why GILE is such a key industry platform, helping the lighting market to develop more rapidly. I would therefore like to thank the industry for their incredible support in continuing to stand behind the show. The high number of exchanges that took place across the show floor this year proves that face-to-face interaction is in high demand.
“The industry is constantly evolving, with smart technologies, as well as more human-centric and low carbon approaches driving the development of new lighting products,” she continued. “While lighting design is moving towards “smart and healthy lighting”, the current trend is to use innovative ways of thinking to create more energy efficient lighting products. This year, GILE created more opportunities for business exchange. In addition, the fair’s fringe events explored the challenges faced by the industry, and the opportunities brought by technological change, which garnered much positive feedback from participants.”
Under the theme “New era, new opportunity”, the show aimed to encourage industry players to find new applications for lighting technology. This year’s fair was organised under nine key themes, discussing how new technologies can change people's lives, and how industry players can use this to create new business opportunities. Key topics included light art, lighting control technologies, smart cities, residential and commercial lighting.
The next editions of Guangzhou International Lighting Exhibition and Guangzhou Electrical Building Technology will be held from 9 – 12 June 2023.
www.guangzhou-international-lighting-exhibition.hk.messefrankfurt.com
Illuminated River to participate in Totally Thames' Reflections event
(UK) – As part of Totally Thames’ Reflections event on 24 September, Illuminated River will be lit in a celebratory sequence of majestically evolving light and colour.
The specially programmed display, created by Illuminated River artist Leo Villareal, will celebrate the Queen’s Platinum Jubilee, accompanying an illuminated flotilla along the River Thames, organised by the Thames Festival Trust. Comprised of 150 boats adorned with white lights, the procession will travel at dusk from Chelsea to Tower Bridge, creating a ribbon of light reflected across the water.
Illuminated River’s main colour scheme will be threaded with tones of platinum and purple in a synchronised flow of subtly moving LED lights across nine central London Thames bridges, from Lambeth to London Bridge. The display will be unveiled at sunset on Saturday 24 September and will run until 2am on Sunday 25 September.
The Reflections flotilla will include Gloriana, the Queen’s Rowbarge, which was made for Her Majesty’s Diamond Jubilee; and all participating crews are raising funds for the RNLI, to support the construction of a new lifeboat station at Waterloo Bridge.
Adrian Evans LVO, Pageant Master and Director of Totally Thames Festival, said:“The river was centre stage for Her Majesty’s Diamond Jubilee. Ten years on, the Thames joins her Platinum Jubilee celebrations in magnificent style with a sumptuous, illuminated flotilla and its bridges given gorgeous bespoke lighting specially for this historic occasion.”
Jayne George, Director of Fundraising, Media and Marketing at the RNLI, added: “We are so grateful that Reflections has chosen to fundraise for the new Tower Lifeboat Station. The crew there respond to around 600 calls for help on the Thames each year. The building no longer meets our operational needs, but our new floating lifeboat station at Tower will provide much improved facilities for our casualties and crews and will help us save many lives in the heart of the capital for decades to come.”
