Cariboni Group - Spoon
Spoon is the new urban lighting system designed for Cariboni by Atelier(s) Alfonso Femia.
The project stems from a lucid and severe reflection: the outdoor lamp is an object for too long relegated to a hyper-technological dimension or filled with pseudo-classicisms. In defining urban comfort, it is necessary to synchronise lighting with contemporary scenarios. For this reason, the new line of products defines urban lamps capable of communicating and reacting to changing situations, not indifferent objects, but objects integrated and coherent with the rewriting of cities.
Spoon contributes to urban design with a strong chromatic and material personality and an unprecedented project choice, particularly for an outdoor system: the volumes of the bodies are developed on asymmetrical geometries. The challenge was to design a dynamic element that can be adapted to different scales, geometries and positions between the specific space and the overall environment.
From Cariboni’s collaboration with the studio, three urban lamps of different sizes were born, which can be fixed on tall and sharp vertical rods, on low cylindrical stems, or on the wall. The different shape ratio, the possibility of positioning them at variable heights and in different orientations, define their character and luminous "nature".
The system is designed to offer maximum comfort and maximum efficiency both for horizontal and vertical surfaces. Numerous optical distributions are available for each lamp both for street and architectural lighting.
According to Alfonso Femia: “the Spoon collection moulds and makes the shapes that build space changeable. It talks about creativity, research and planning, combining shapes, functions and material relationships".
25th Hong Kong International Lighting Fair draws 62,000 visitors
(China) – Held concurrently alongside the Hong Kong International Outdoor and Tech Light Expo and the Eco Expo Asia, the 25th Hong Kong International Lighting Fair (Autumn Edition), welcomed more than 62,000 visitors from across 145 countries and regions.
Sophia Chong, Deputy Executive Director of organisers the Hong Kong Trade Development Council (HKTDC), said immediately following the event that the combined fairs had “created a cross-industry sourcing platform for global buyers, successfully leveraging synergy and attracting some 62,000 buyers collectively.”
The number of buyers from key markets reportedly grew strongly, including those from ASEAN countries such as Indonesia, Malaysia, Philippines, Singapore, and Thailand, as well as the UAE, Korea, India and Mainland China.
Running under the theme of “Light Up Every Opportunity”, the Hong Kong International Lighting Fair and International Outdoor and Tech Light Expo showcased a wide range of lighting products with innovative designs, sustainable development, and smart elements. Debuting this year was the Connected Lighting Zone, which featured more than 20 companies and brands, as well as the Connected Lighting Forum, where experts shared information and trends on smart lighting solutions.
An independent survey institute interviewed nearly 770 exhibitors and buyers at the event, finding an optimistic outlook from those surveyed. More than 67% of those questioned expect overall sales to continue growing in the next two years, with 32% expecting sales to remain unchanged and just 1% anticipating a potential decline. For traditional markets, respondents were mainly optimistic about Australia and the Pacific Islands (67%) and Taiwan (63%). Among emerging markets, the industry was primarily positive on Latin America (71%), Centra & Eastern Europe (68%), the Middle East (66%) and ASEAN countries (65%).
Smart cities and smart homes were among the technological development trends under the spotlight. As Internet of Things (IoT) applications grow in popularity, most respondents (74%) believed the smart-lighting market had great potential in the next two years. Areas with the most potential included home automation and smart-lighting control systems (47%), followed by wireless lighting control systems (33%), energy-saving lighting control solutions (30%) and outdoor smart security lighting systems (26%).
Continuing, Chong added that she was “confident that the HKTDC would continue to promote local and international trade development, bringing more business opportunities and cooperation to the industry.”
Luxconex - SR Blaze
SR Blaze is a high-quality linear light designed and built for longevity. Packed with a humidity stabiliser and advanced voltage regulation technology, it ensures consistent performance in high humidity and voltage fluctuation environments. The deep recessed lens with customised honeycomb controls glares effectively, enhancing comfort. Its slim end cap adds to the elegant aesthetics of the finish. It guarantees uniform lighting with no dark spots at butt-joints, ensuring a seamless application. SR Blaze is the epitome of performance, style, and adaptability for diverse lighting needs.
Fetzer Institute Administration Building, USA
A renovation of the Fetzer Institute’s Administration building saw lighting, designed by SmithGroup, play a key role in creating the feeling of “lightness within”.
The Fetzer Institute was founded by broadcast pioneer and former owner of the Detroit Tigers baseball team, John E. Fetzer, with the goal of “helping build the spiritual foundation of a loving world”.
Combining science and spirituality, the institute was established to support work designed to discover and enhance the integral relationships of the physical, mental, emotional, and spiritual dimensions of experience that foster human growth, action, and responsible improvement of the human and cosmic condition.
Last year, the non-profit institute underwent a renovation of its existing, triangular-shaped administration building. In keeping with the group’s wider philosophy, the goal for the renovation was to create an environment that would encourage dialogue in support of its mission, create a memorable experience, and reconfigure for growth.
Using the building’s unique footprint and vision, designers at SmithGroup, who led both the architectural and lighting design of the renovation, sought to implement inspiring spaces, including a central gathering space that harnesses “distinctive geometry and lighting elements” to evoke ancient, tent-like structures.
Paul Urbanek, Vice President and Design Director at SmithGroup, tells arc: “This renovation is about ordering a new plan within the equilateral triangular footprint of an existing Administration building that speaks to the Fetzer Institute’s mission of supporting a holistic, loving world with open dialogue.”
Paige Donnell, Associate Lighting Designer at SmithGroup, adds: “Our multi-faceted design team worked together to charette the over-arching concepts and ideas that we wished to implement, driven by the client’s goals.”
In support of these goals, SmithGroup developed a lighting concept, titled “Revealing Legacy”, which Donnell says “empowers and enforces notions of inclusivity, awareness, and open dialogue by highlighting the warmth and texture of materiality and seamlessly integrating concealed lighting treatments within architectural forms”. Within this, the design parti looked to create a sensation of “lightness within” – a challenge in itself in a space devoid of natural light.
“We needed to craft a bespoke solution that not only performed similar to daylight – diffuse, ambient, soft illumination – but also created the visual sensation of daylight effortlessly pouring through translucent materials and crafting the human experience by creating a captivating and welcoming environment for gathering.”
Central to the renovation of the Administration Building, at the heart of its angular shape, is the Convening Room, a major sacred space within the Institute. About this are a series of supporting spaces that continue the open dialogue cherished within the organisation.
Urbanek explains how the triangular form of the building impacted the rooms within, and the lighting therein: “The unique shape of the building plan made for some unusually shaped rooms. Instead of rectangles, we were confronted with parallelograms and triangular spaces. Therefore, the application of standard lighting fixtures took on a creative slant. Even the straight corridors have special attention at the corners, because they are 120°, instead of 90°.
“The major Convening Room employed a myriad of triangular forms to create a tentlike structure that incorporated the lighting. Other rooms used regular treatments placed in juxtaposition with the angled geometries.”
The triangular forms in the Convening Room are comprised of a series of custom designed and fabricated, edge-lit acrylic panels that diffuse light from an LED source concealed in the ceiling. Meticulously detailed with limited space, the 16ft acrylic features, designed with knife-edge end conditions and z-clipped backer plates, effortlessly slide into the bespoke ceiling without visible fasteners.
SmithGroup worked on numerous mock-ups with the manufacturer to fabricate a distinctive, 3D-printed acrylic refraction pattern for uniform and effective transmission of light from top to bottom. The product was reviewed at multiple scales, with appearance, ease of maintenance, and accessibility as critical design drivers. With a CCT source of 3500K, the designers at SmithGroup believe that the feature strategically contrasts a cool daylit impression and warm material palette, evoking the sensation of daylight emerging through a tent-like form, amplified by the dynamic spiral play of veiling, and revealing illuminated panels.
Donnell recalls the design process for this unique feature: “Paul and I initially sat down together one afternoon with a napkin sketch of an idea to create this structure that emits light almost magically, without visible fasteners, and fully integrated into a custom millwork triangular shaped form. We wanted to both highlight and honour the angular architecture, while also crafting an experience that was inviting and encouraging of open community dialogue.
“We talked through the initial limitations – ceiling space, fabrication methods, achieved light levels, accessibility – and we determined the only way to achieve this aesthetic and function was to find a product that was small-scale, custom-sized, and edge-lit with uniform distribution.”
Elsewhere, a newly added exhibit space showcases the owner’s legacy, highlighting key storytelling features with a playful spin. Baffled adjustable track lighting, detailed into a reveal in the ceiling and situated within an extremely low plenum space, allows for spatial adaptability. RGBW cove lighting central to the space breaks the horizontal ceiling plane and continues to evoke the sensation of “lightness within”, while custom 3D-printed patterned metal partitions filter and extend daylight from the surrounding existing building, creating a playful and comfortable expression of natural light within the windowless interior.
Office support spaces, such as huddle rooms and a library, utilise glare-free perimeter indirect solutions for visual comfort and warmth; accessible restrooms exemplify how multiple layers of indirect illumination transform the elegance and intimacy of an occupant’s experience. “We created a custom control element at the door handle that visually notifies occupants of the room’s vacancy,” Donnell adds. “This custom millwork-integrated light illuminates green or red to enforce more ‘quiet’ methods for communication of everyday tasks, that in-turn allows more space for intentional conversation.”
Donnell explains how the overarching design concept of “lightness within” extends to the various spaces within the building: “The design philosophy encouraged achievement in our somewhat competing goals, by creating a juxtaposition of dark-toned intrigue, intimacy, and comfort, with a simultaneous feeling of lightness, awareness, and limitless bounds. We capitalised on indirect illumination strategies, paired with a warm material palette to both create that welcoming environment and express the sensation of vast openness and discovery.”
Alongside this, Donnell adds that the use of indirect lighting throughout limits contrast and visual discomfort and enhances the warmth and texture of the wood materials in an effort to “create elegant, intimate, and welcoming experiences that support and inspire open community dialogue.”
While the concept of designing lighting in a completely windowless environment may seem like one of the biggest challenges that a lighting designer can face, Donnell believes that there was another, more troublesome factor to consider. “Our biggest challenge was the design, execution, and installation of our customised feature ceiling element during a global pandemic,” she says.
“Throughout the mock-up phase of the project, we needed to review varied scales of custom 3D-printed acrylic refraction patterns both quickly and effectively. This led to countless video calls with the lighting manufacturer, an abundance of shipped material samples, and innovative methods for quantifying light level performance data for the design team to validate the system in their 3D models. Once the mock-ups became larger in scale, we benefitted from teaming with a local manufacturer, and were able to drive to the factory to review intricate details in-person, wearing masks and maintaining distance.
“During the construction phase of the project, we ran into unforeseen issues with in-field humidity conditions causing our custom panel elements to bow with the heat. Fortunately, we had a great team of designers, contractors, and fabricators, who were remotely able to verbally and visually communicate challenges and concerns to find novel solutions to these unprecedented site challenges.”
Urbanek adds that the logistics of remodelling within an existing building and framework brought with it some further struggles. He says: “As this was a remodel of an existing building, we tried hard not to disrupt the structure, but rather work within. Wherever possible we incorporated the existing columns into the design.
“The main Convening Room was placed in the centre of the plan, in the largest open space available, and its truncated hexagonal plan is a result of trying to gain the most area within the structure. The Fetzer Exhibit space is designed as a rhombus shape for many of the same reasons. In both of these spaces, working around the mechanical ducts and structural beams to achieve greater ceiling height was tricky.”
That being said, on reflection the design team at SmithGroup, as well as the client, are all “extremely satisfied” with the outcome of the project. Donnell adds: “Photos can’t fully describe the experience of this technically static system, with a seemingly dynamic effect. The sensation of moving about the space and experiencing the perspective-driven environment and its revealing panels is difficult to describe but it is immensely felt by the inhabitants.”
Both Donnell and Urbanek also feel that the new lighting design is integral to the ambience of the renovation, and particularly in achieving the goal of “lightness within”.
Urbanek comments: “Lighting is a key element of the renovation. The built-in fixtures of the Convening Room add to its tent-like form and act as almost skylights to the most internal room in the building. The mystery of an evenly lit space where one can only view half of the light fixtures from any point adds to the spiritual nature of the space. It is intended to bring a sacred feeling to those within. The exhibit space again is lit in a fashion to highlight within the exhibits, creating a rich visual environment.”
Donnell adds: “I believe the power of lighting and its intentional interaction with form can sometimes be undervalued. With this project, however, lighting was fundamental to the design process, which ultimately made the project much more successful. The design philosophy of ‘Lightness Within’ allowed us to challenge the norm, expand our impact, and truly design holistically to create a one-of-a-kind experience, curated for our client’s specific needs.”
Perhaps the highest praise for the renovation though, comes directly from the client. Rob Lehman, Fetzer Trustee, says of the new-look space: “The new expression of the Administration Building – the Commons, One World Room, and all the other carefully designed meeting spaces – has been created with such a sense of the sacred. These spaces represent a deepening of our relationship-centred work.
“Standing in the Exhibit Room and reflecting on our history made me realise how the remodelling is truly an ‘outward visible sign of an inward invisible reality’.”
VK Leading Light - Akrovatis
Born by VK Leading Light
Light and Human
Symmetry - Balance - Light
Akrovatis' movements delicately interplay with light and shadow and transform it into a game of communication with human.
VK/04491/PE/B/W
Kelvin 3000K | Power 5W+15W | Lumen 350lm+533lm | Voltage 220-240V
The Point of No Return
Can the lighting profession survive the new public awareness of the problems of light pollution? Dr. Karolina M. Zielinksa-Dabkowska investigates.
This article reviews various recent publications and initiatives to extend our understanding about the impact of light pollution on the natural world, human health, flora, fauna, and the night sky. Consequently, it’s clear an immediate change in design practice of the lighting profession is required because new approaches for external illumination are generally worsening lighting conditions instead of improving.
Based on recent research, light pollution has increased annually by almost 10%, prohibiting visibility of stars in the night sky [1]. When this statistic is compared with other findings from 2016, and the estimates made then of 2% - there’s a significant increase [2]. Unfortunately, this type of pollution has generally not been considered a threat by regulatory bodies, local and regional decision makers. However, this attitude has started to slowly change more recently.
To better understand the overall impact of this type of pollution on biodiversity, in December 2022, the European Commission announced a research call under Horizon Europe Framework Programme in order to monitor and mitigate its adverse effects on the conservation status of species and habitats affected. It was titled “Impact of light and noise pollution on biodiversity” [3], and €7m will be awarded to two project teams – one covering terrestrial (both urban and rural areas), and the other aquatic (fresh water and marine environments). These two projects will start in January 2024, and they will last four years. Based on their outcomes, European Parliament will introduce the necessary regulations. The consortium partners building these two teams will be officially announced in autumn. The results of the project are expected to contribute to the following outcomes:
• The impact of light pollution on biodiversity and ecosystem services is better understood, and nature restoration activities, as planned in the EU biodiversity strategy for 2030, are supported.
• Private and public stakeholders become more aware of the impacts of light on biodiversity.
• Specific measures are developed to assess, prevent and mitigate the negative impacts from light on biodiversity.
• Networking capacity is built around the impacts of light on biodiversity.
Then in June this year, the American Association for the Advancement of Science (AAAS) in the special section of their peer-reviewed academic journal Science Magazine, called “Light Pollution”, published review articles and a policy forum [4]. This recent issue confirmed the gravity and relevance of the topic, as this weekly journal publishes top research themes from around the world.
In the “Measuring and monitoring light pollution: Current approaches and challenges” publication, researchers investigated measuring and monitoring methods of artificial light at night (ALAN) both from the ground (including single-channel photometers, all-sky cameras, and drones), and through remote sensing by satellites in Earth’s orbit. Moreover, the authors identified several shortcomings and challenges in current measurement approaches [5]. Another review, called “Effects of anthropogenic light on species and ecosystems”, discussed the impact of man-made light on mammals, amphibians, reptiles, fish, and plants, and how solutions and new technologies could minimise these negative ecological effects [6].
Adverse aspects of outdoor lighting on human health were discussed in “Reducing nighttime light exposure in the urban environment to benefit human health and society”. This covered impacts such as eye strain, stress to the visual system, circadian desynchrony, sleep disruption and suppression of melatonin secretion, and included the increased risk of developing chronic diseases. Moreover, critical areas for future research were identified, and recent policy steps and recommendations were introduced for mitigating light pollution in the urban environment [7].
The topic of the impact of artificial light at night, radio interference, and the deployment of satellite constellations were also analysed in “The increased effects of light pollution on professional and amateur astronomy” [8]. Lastly, an article in the policy forum called “Regulating light pollution: More than just the night sky” examined the hard and soft laws connected to light pollution in the European Union, France, Korea and the UK [9].
Most notably, the cover of this magazine featured a wild little penguin silhouetted against the brightly illuminated city of Melbourne.
On the 12 July, 2023, the European Parliament passed a new nature restoration law [10] to boost biodiversity and climate action, and terms such as “light pollution” and “artificial lighting” were used throughout this document [11].
Moreover, earlier this year, the House of Lords Science and Technology Committee of the UK Parliament conducted an oral public inquiry into the effects of artificial light and noise on human health [12]. In the published report, the committee reported evidence for claims made about the effects of artificial light on human health, the inadequacy of the existing policy and regulatory framework for addressing light pollution in the UK, and options for reform to address any harmful effects that were identified [13]. Based on all the information provided, the committee confirmed that light pollution is “poorly understood and poorly regulated”. Representatives of the lighting profession were present as witnesses: Guy Harding, Technical Manager from the Institution of Lighting Professionals; Allan Howard, Past-President of the Institution of Lighting Professionals; Stuart Morton, Professional Head of Highways and Aviation Electrical Design at Jacobs; Andrew Bissell, President of the Society of Light and Lighting.
The Way Forward
In the past, misinformation on various lighting related topics has been spread by many companies. A good example is the “ban the bulb” initiative where, for example, lamp manufacturers tried to convince lighting professionals and the general public that compact fluorescent lamps (CFLs) were the best light sources to be used due to their energy savings, instead of the old-fashioned General Lighting Service (GLS) incandescent lamp. Not only that, but they were also falsely promoted as healthy and environmentally conscious. We know now the folly of those claims, as the lamps contained harmful mercury in liquid and gas form, and there was also no proper process for recycling. The same could be said about the ban of incandescent sources for LEDs. We now know that many people cannot tolerate LED lighting technology, and yet, we’ve gone ahead with the banning of this safe and side effect-free light source, without anything else comparable to take its place.
In order to understand the current situation on light pollution, objective unbiased research is therefore necessary, so we can act and apply this new knowledge in our lighting projects. In order to do so, a few steps are required: quantifying the effects of light pollution has to be established first, then specific lighting level targets need to be set, and it should be a priority to create a framework for regulations. Applying the ROLAN manifesto in lighting projects can be a starting point to minimise the impact of the polluting effects of LED lighting technology. Another way to learn about this important topic and be informed about responsible outdoor lighting, and how to apply it in day-to day lighting practice, is to watch recordings from the inaugural ROLAN conference [14]. These recordings connect both research and practice, and they are provided free of charge. This work utilises the immense depth of knowledge, expertise, and innovation that currently exists, in order to broaden horizons, increase understanding, and improve communication on the topic of light pollution. The ultimate aim is to facilitate much-needed collaboration and support to improve lighting practice, and to also enhance research, as well as networking opportunities between researchers, practitioners and manufacturers in order to enable responsible illumination in our towns and cities.
References
1. C. C. M. Kyba, Y. Ö. Altıntaş, C. E. Walker, M. Newhouse, Citizen scientists report global rapid reductions in the visibility of stars from 2011 to 2022. Science 379, 265–268 (2023).
https://www.science.org/doi/10.1126/science.abq7781
2. F. Falchi, P. Cinzano, D. Duriscoe, C. C. M. Kyba, C. D. Elvidge, K. Baugh, B. A. Portnov, N. A. Rybnikova, R. Furgoni, The new world atlas of artificial night sky brightness. Sci. Adv. 2, e1600377 (2016).
https://www.science.org/doi/epdf/10.1126/sciadv.1600377
3. Impact of light and noise pollution on biodiversity. Available online:
https://ec.europa.eu/info/funding-tenders/opportunities/portal/screen/opportunities/topic-details/horizon-cl6-2023-biodiv-01-2 (accessed on 31 July 2023).
4. K. T. Smith et al. Losing the darkness. Science 380,1116-1117 (2023).
https://www.science.org/doi/epdf/10.1126/science.adi4552
5. M.Kocifaj et al. Measuring and monitoring light pollution: Current approaches and challenges. Science 380,1121-1124 (2023).
https://www.science.org/doi/10.1126/science.adg0473
6. A.K. Jägerbrand, K. Spoelstra, Effects of anthropogenic light on species and ecosystems. Science 380, 1125-1130 (2023).
https://www.science.org/doi/10.1126/science.adg3173
7. K. M. Zielinska-Dabkowska et al. Reducing nighttime light exposure in the urban environment to benefit human health and society. Science 380, 1130-1135 (2023).
https://www.science.org/doi/10.1126/science.adg5277
8. A. M. Varela Perez. The increasing effects of light pollution on professional and amateur astronomy. Science 380,1136-1140 (2023).
https://www.science.org/doi/10.1126/science.adg0269
9. M. Morgan-Taylor, Regulating light pollution: More than just the night sky. Science 380, 1118-1120 (2023).
https://www.science.org/doi/10.1126/science.adh7723
10. New Nature Restoration Law boosts biodiversity and climate action across Europe. Available online:
https://cinea.ec.europa.eu/news-events/news/new-nature-restoration-law-boosts-biodiversity-and-climate-action-across-europe-2023-07-12_en (accessed on 31 July 2023).
11. Nature Restoration Law. Available online:
https://environment.ec.europa.eu/topics/nature-and-biodiversity/nature-restoration-law_en (accessed on 31 July 2023).
12. Call for Evidence. Available online:
https://committees.parliament.uk/call-for-evidence/3032 (accessed on 31 July 2023).
13. Light and noise pollution are “neglected pollutants” in need of renewed focus. Available online:
https://committees.parliament.uk/committee/193/science-and-technology-committee-lords/news/196536/light-and-noise-pollution-report-publication/ (accessed on 31 July 2023).
14. ROLAN 22 Video Access – Registration. Available online:
https://www.cibse.org/get-involved/societies/society-of-light-and-lighting-sll/sll-events/rolan-22-video-access-registration (accessed on 31 July 2023).
Active Daylighting: Smart Shading for “Phygital” Spaces
Mahdis Aliasgari, Lighting Designer and Researcher at Lighting Design Collective, shares some of the findings from the studio’s ongoing work in the field of smart windows.
Back in 2018 our company, Lighting Design Collective (LDC), was invited to participate in a Horizon 2020 EU funded research programme called DecoChrom. Within this 4.5 years journey I had a unique opportunity to work with an interdisciplinary consortium of 15 partners with state-of-the-art backgrounds in design, chemistry, printing, coating, laminates and electronics system integration, to name a few. The project goal was to elevate printed electrochromic (EC) to the age of interactivity, allowing for enhancing and mass-producing this ultra-low-power material.
At LDC, we mainly focused on the concept of Active Daylighting, a term we coined to argue and explore innovative solutions for boosting the future of smart windows/shading.
Smart Windows
The concept of Smart – also known as switchable/dynamic – windows can be traced back to the mid-70s when the first electrochromic material, tungsten oxide, was introduced to create glasses that change opacity and colour when subjected to an electric field. However, it took nearly three decades of R&D for this technology to be commercialised and applied in the automotive sector, architectural projects, and aircraft.
While the DecoChrom project was only focused on electrochromic materials, there are several types of technologies behind smart windows such as thermometric, photometric, SPD (Suspended Particle Device) and LCD (Liquid Christal Device).
The common principle among all types is the ability to change their properties in response to external stimuli or user control. This allows for controlled light transmission, opacity, and colour, providing various benefits such as daylight and privacy control, as well as energy efficiency.
Objectives
Within our work package Design and Pilot, together with other design partners, we provided a link between the technical work packages and three application domains: Smart Furniture, Furnishing & Decoration, Smart Sports & Wearables & Smart Buildings, where LDC explored the future of daylighting in the field of architecture. We divided our research objectives to three categories:
Technical aspects Enhancement
To take the concept of smart windows/shading to the next level, introduction of new colours, better performance in terms of light transmittance, switching time, durability and heat protection were anticipated. This part was developed within three work packages:
WP1: production and upscale of electrochromic inks.
WP2: production of electrochromic surfaces through roll-to-roll printing (R2R), high pressure laminate (HPL), etc.
WP3: enabling system components and integration that allows the surfaces developed in WP2 to become responsive Electrochromic (EC) screens by implementing required electronic components.
Within an intriguing process that required learning various disciplines’ perspective, such as chemistry, laminate, and electronics, we create a wish-list to start with. The idea was to ensure that the technical enablers would meet the design requirements. Of course, we were then informed about some limitations of the technology, but it was also full of fruitful discoveries when we came up with ideas and solutions within several rounds of iterations, which then were implemented to the project.
Pixelation & Aesthetic
The Active Daylighting/Shading explores a daylighting tool tuned for the “Phygital” environments. This concept argues the next generation of smart windows/shading not only blocks the daylight to create visual and thermal comfort but also allow for generating dynamism, engagement, diversity, and emotions in the space through pixelation and control.
During the night, when the interior lighting is on, these surfaces will transform the glass façade to an urban lantern, creating soft, low-resolution dynamism controlled by a bespoke software control.
It’s important to note that while EC screens can dynamically change their opacity and tint, the change is not instant nor uniform, especially for larger surfaces. On the other hand, for daylight to pass, the wiring and electronic components for power and control should be kept least possible, therefore creating high resolution screens is not feasible, and this “calm technology” is not intended to act as a media façade.
Control and User Interface
To enable a wide range of algorithmic patterns and parametric triggering, we proposed a bespoke software controller integrated into the IoT backbone. This addresses the notion of Ambient Communication – both during daytime and night-time – by subtle ways of engaging the user and/or urban environment. It is enabled by and facilitates, Surface as Service, Nearables, Internet of Things, Smart Buildings, Smart Cities and Constant Engagement.
Prototypes
To explore the mentioned ideas and concepts we developed two prototypes in close collaboration with Work Packages 1-3. While the first prototype was more focused on studying the pixelation, the second one tested wireless control and user interface.
Prototype 1
In this prototype we explored the functionality and aesthetic aspects of digital daylighting/shading. It’s consisted of a modular 12 10cm x 10cm EC display matrix. The display elements include a kiss-cut groove (an extremely shallow cut), creating two ‘pixels’ in one display, allowing for a slightly higher resolution. A custom PCB was designed to interface the display matrix to the control system. The prototype demonstrates the system’s reaction to the ambient light level, using a light sensor. Various dynamic patterns were programmed to demonstrate how we can control the daylight in a visually intriguing manner.
Prototype 2
A 1000mm by 500mm prototype (1:1 scale) was developed to study the challenges and potentials toward upscaling Active Daylighting concept. R2R produced screens and wireless communication control through a control/visualisation application were explored in this prototype. The control application – designed and developed in-house in collaboration with ReVR Studio – not only allows for controlling the prototype via Bluetooth but also illustrates how the dark/bleached patterns will look on the window prototype thanks to a twin Augmented Reality (AR) model addressing a merge between physical and digital.
A Glimpse into the Future
The Smart Window Market size is expected to grow from $5.09 billion in 2023 to $8.10 billion by 2028. Factors such as increasing energy-saving initiatives, rising demand for energy-efficient solutions in buildings, and advancements in smart window technologies is driving this growth. In my view, apart from enhancement in durability, performance, new colours, affordability, etc, the future development will address new opportunities in two categories:
- Retrofit Installations of smart filter/blinds: Retrofitting existing buildings with innovative EC solutions is an opportunity to enhance energy efficiency without the need for major structural changes.
- Hybrid solutions: Merging the features of media façades and electrochromic windows can open for revolutionary tools for architects and lighting designers. For instance, the integration of transparent LED displays or transparent OLED technology with electrochromic glass could potentially create a hybrid system capable of displaying media content while still providing control over light transmission.
Our exploration of smart shading has shed light on the immense potential for more diverse alternative solutions for daylighting. As we consider these visionary prospects ahead, I’d like to conclude by raising some questions: How can we – as architects and lighting designers – remain at the forefront of such emerging technologies? How do we anticipate for adapting our design to accommodate for these alternatives in the future, and lastly, how can we educate our clients about the value of implementing cutting-edge technologies in the realm of Active Daylighting?
David Morgan Review: SGM i-1
The latest product in the SGM range is the i-1 Linear architectural lighting system, designed for use on a wide range of façade applications. Here, David Morgan takes a closer look.
It is unusual for a company founded in Italy producing products for the disco market to end up, as a Danish high end technical lighting company.
Yet this is the route that SGM has travelled. Originally founded in Pesaro, Italy in 1975, it is now based in Aarhus, Denmark, after being restructured in 2015 and relaunched under a slightly different name.
The SGM product range includes advanced products for entertainment and architectural lighting applications with a particular expertise in moving head luminaires. The company was the first to develop an IP rated exterior moving head luminaire, which was introduced in 2013. Notable UK projects include lighting the chimneys of Battersea Power Station using the i·2 RGBW POI wash light.
SGM designs, develops, tests and assembles all products in house with an emphasis on high performance, repairability, and durability. The latest product development in the SGM range is the i-1 linear architectural lighting system.
This range is designed for wide range of façade linear lighting applications and incorporates some innovative and patented features to ensure a long working life and high performance.
The i-1 range is based around an attractively styled and solid looking ribbed body extrusion, which gives the range a strong visual identity while also acting as a passive heat sink. Both ends of the body extrusion are machined to produce a distinctive curved profile.
SGM puts considerable emphasis on the quality of its optics and the efficiency of its luminaires. I was rather surprised to see that individual lenses for each LED were used in the RGBW samples that I was given to review. This approach means that the various colours do not blend together to create a fully homogenous output for some distance from the luminaire, which causes issues for surface grazing. However, it turns out that SGM has launched the highest efficiency versions first and that i-1 luminaires with colour mixing optics will be available in the future. The lumen output was high and colour blending was very good on the sample when the beam was projected over a distance of three-metres or more and so for many applications it should work well.
Six distributions are currently available. These range from 8.5º narrow up to a 60º wide option; an elliptical 12 x 39º version; and an asymmetric elliptical 13 x 38º option.
The i-1 system is available in three lengths with two power options: standard and X for the high-power type. The lengths are based on a 1ft module. The longest size is 1,220mm (4ft) with a maximum power of 115 W, 610 mm (2ft) with a maximum power of 60W and 305mm (1ft) with a maximum power of 35W. The RGBW version has been launched first with a tuneable white type to follow.
Lumen output for the high output version is over 1,500lm/ft, with all LEDs on full power, giving an efficiency of around 60lm/W, which is high for an RGBW luminaire.
The integral DMX RDM line voltage drivers work with a universal voltage range from115V to 277V 50 or 60Hz so can be used in any country. The drivers are designed in-house and incorporate a variety of custom features The first of these features, which SGM has branded DynaMix, maximises the lumen output for RGBW and tuneable white light engines. DynaMix is a SGM point of difference, which boosts lumen output where the power of each colour channel is scaled in a ratio to the maximum luminaire power. For example, if only the blue LEDs are lit, then in theory these can be run at the maximum luminaire power. As other colours are added to the mix then the blue power will be reduced so that the combined power equals the maximum for the luminaire. Eldoled drivers offer a similar control feature but only a few other luminaire manufacturers seem to have adopted this idea so far.
The i-1 luminaires are designed to operate in a wide thermal range from – 40°C up to 50°C, and incorporates a proprietary branded thermal control system ThermalDrive that ensures that even in very high ambient conditions the LEDs operate at a safe working temperature. With an IK rating of 09 and corrosion rating of C5, SGM luminaires are designed for a long working life even when exposed to harsh conditions.
The range also incorporates a patented dehumidification system that I have not previously seen on other products. Branded DryTech, this system of inbuilt dehumidifiers constantly removes trapped hydrogen from the luminaire using a solid-state electrolytic process, with no moving parts, which reduces the risk of corrosion. An IP rated pressure equalisation vent is also incorporated to minimising negative pressure when the luminaires are turned off pulling moisture in the LED area or driver electronics.
The i-1 system has been thoughtfully designed throughout, including the mounting brackets, which come in three types. The mounting for brackets can be located at any point along the body extrusion and the spacing from the mounting surface is adjustable and lockable. The luminaires can be angled in the vertical plane and can also be mounted at an angle to the wall surface in the horizontal plane.
Glare control accessories include a linear shield that incorporates an adjustable louvre for fine control of the cut-off. An anti-glare cover is also available in modular lengths and this clips on to the luminaires without tools.
Each luminaire comes fitted with a flexible link cable and IP rated multi way connectors with mating sockets for ease of connection on site. The connector fits into an open area at the back of each luminaire allowing the luminaires to be joined together with a minimum gap between them. A flexible cable extension is available that allows the luminaires to be spaced more widely.
SGM has also developed its own colour light engine software branded as TruColor+, which enables advanced control of the colour output. Each luminaire is calibrated at the end of the assembly process and the data stored on board. This data can be used to programme a replacement luminaire on a project to match the original colour profile and to allow for the lumen depreciation that will have occurred. The i-1 system incorporates 3, 4, 6, 8 or 10 DMX control channel options to enable the luminaires to be operated in many different colour control modes. TruColor allows all SGM luminaires to be matched for colour consistency across the SGM Colour Pallet and to produce high CRI (90+) white light output from 2,000K up to 10,000K.
Another branded software control option, VersaPath, enables colour filter emulation to react to colour temperature adjustments, similar to the effect of using a tungsten/discharge or xenon light source.
The SGM i 1 range is impressive in terms of its features, performance and overall construction. In a crowded market for linear façade lighting products, this range does stand out with its numerous distinctive design and performance features. I look forward to seeing the lit effects when used on projects in the future.
Speirs Major
In a special round-table discussion, arc caught up with the senior design team at Speirs Major to discuss how the practice has grown over the past 30 years, and where it sees itself going in the future.
Speirs Major is a lighting design studio that needs little to no introduction. With an expansive back catalogue of awe-inspiring, award-winning projects to its name, the practice is one of the most highly regarded and well-renowned design studios in the lighting sphere.
Established in 1993 by Mark Major and Jonathan Speirs, originally under the name Speirs and Major Associates, the studio works across the full gamut of architectural lighting design, with projects across the world spanning infrastructure, heritage, hospitality, public realm, retail, cultural and places of worship, to name but a few.
Both Speirs and Major originally trained in architecture before making the switch to lighting design, and this background meant that they shared a belief that lighting should be an integral part of the architectural design process, rather than a secondary addition. As a result, the studio used the term “Light Architecture” to describe its work – an expression that it believes “underscores our ethos, rooted in a fascination with light, form, space and time”. With this in mind, Speirs Major describes its approach to lighting design as “progressively and responsibly using light to improve the experience of the built environment, promote wellbeing, and generate a unique sense of place”.
The company rebranded to Speirs + Major in 2010, shortly after Keith Bradshaw was appointed as Principal, but in 2012, Jonathan Speirs sadly passed away at the age of 54 after a two-year battle with cancer. Speirs had led the design for a number of the firm’s most high-profile projects to that point, including the IALD Radiance Award-winning lighting for the Sheikh Zayed Bin Sultan Al Nahyan Mosque – the Grand Mosque, in Abu Dhabi, UAE, and is widely remembered as a pioneer in the lighting design profession.
After the passing of Speirs, the company continued under the tutelage of Major and Bradshaw, adding yet more award-winning projects to its repertoire, until another rebrand in 2020 that reflected the studio’s evolution from an atelier practice to a broader organisation, headed by several Partners. Now operating under the name Speirs Major, the company is led by Major and Bradshaw as Senior Partners, alongside Clementine Fletcher-Smith and Carrie Donahue Bremner as Partners, and Associate Partners Benz Roos, Philip Rose, Iain Ruxton, and Hiro Toyoda, who leads its Tokyo office.
As the company now looks to the future under this new, democratic leadership group, arc editor Matt Waring led a round-table discussion between the Senior Partners, Partners and Associate Partners to learn more about how the firm has changed over the past 30 years, and where it will go in the future.
What immediately becomes evident is that each of the Partners in the discussion has been with the company for a long time – from Ruxton and Rose’s more than 25 years, to Toyoda having been part of the team for 12 years – the first eight of which in London, before moving to Tokyo four years ago. But within this, there is a longevity that has, in some instances, seen people join the company as juniors fresh from university, and rise through the ranks to the positions that they are in today.
This is something that Fletcher-Smith – one of the self-confessed ‘lifers’ – believes stems from the overriding culture of the company: “I think it’s that we never stop being ambitious,” she says. “It’s not like you get more senior and things become easier, it’s always a challenge, but in a stimulating way. We push ourselves really hard to do something different and think about projects differently. We work on such a diverse range of projects that you never get bored because you’re not only doing one type. There’s always something that continues to challenge you creatively. That’s certainly what has kept me through the years.
“I imagine other people might have considered wanting to work elsewhere, but we have such an amazing thing where we are. As you become more senior, the opportunity to have more of a say in the direction that we go collectively, makes it worth it, because you can help to steer the ship.”
Rose, another lifer who has been with Speirs Major for the past 25 years agreed that the variety of work plays a key role: “We’re not just restricted to one sector or another, and that keeps it fresh, keeps it interesting, and keeps us creative,” he says.
“It’s also a challenge, in a way, because designing a product is really different to creating a masterplan,” Roos continues. “They have very different needs, but at the same time, it keeps us fresh because we are still focusing on light as the main target.
“Another thing that I think is interesting is that we’ve never stopped exploring new ways of delivering our designs. We’re always trying to gauge new technologies and pick up on how the latest technology keeps improving outside of our industry.”
Major and Bradshaw have been keen to facilitate the culture of promotion from within and rising through the ranks, particularly over the past 10 years as the studio shifted from a singular, atelier approach to the team effort of today. Bradshaw explains: “The practice has changed hugely in the last 10 years, and what we’re determined to make happen with everybody else is that we remain fit for purpose.
“One thing that the practice has never shied away from is having a good look at itself; we’ve never sat back, and that requires a certain energy. We recognise what it is to support a very talented senior group of people to fulfil their career ambitions, and ultimately if they’re succeeding, the practice will succeed.
“Lighting design practices used to be ateliers – a lot of them still are – but we’ve gone through a really interesting phase where we’ve matured from that into much more of a team effort now. I liken it to going from being a singles sport to a team sport – we are genuinely a team now, in that if you take one of those pieces out, it doesn’t work as well.”
“Like all good design companies, we’ve been through several evolutions where I wouldn’t necessarily say we’ve reinvented ourselves, but there are recognisable periods of change within our history,” Major adds. “One of those moments of change to the paradigm was when Jonathan retired and then passed away. For Keith and I, that was a very profound moment where we certainly got together, and the practice evolved into a new form.
“More recently, it’s built upon that and evolved again.”
Iain Ruxton has been present for every evolution of the practice, and he feels that each iteration resulted from “adapting according to what was needed at the time”.
“We’ve adapted in terms of not just the type of projects and the scale of projects – that’s certainly been significant in some of our changes – but also the way that lighting technologies have changed, and design and construction have changed, the way that buildings are procured, how things have changed commercially, the way all these things are done, we’ve had to respond to that as we go along.
“We’ve been pretty good at it, to be fair. Many of these things are not just about us deciding what we need to do; it’s all these external pressures that we have zero control over – they have been a big part of how and why we’ve changed.”
Adding to Ruxton’s comment, Carrie Donahue Bremner believes that whatever the adaptation within the practice, creativity has always been at the forefront of the change. She says: “For me, it has fundamentally always been about creativity. Whether this has been taking a step back and asking how we should address things, or opening this up to a wider conversation through the different pools of knowledge in the office so that we can throw ideas around and talk about how we think as a group, it would work, based on some really solid foundations with Mark and Jonathan originally, and then Keith building on that. But at every point, it has always come back to creativity – even if it’s the most mundane thing, it’s just taking that tiny bit of pause and finding a creative approach to those pressures that has made us stronger and allowed us to adapt.”
“Like any creative personal group, you get better by working through things,” Bradshaw continues. “We’ve never stopped, and if we’ve ever felt that we haven’t pushed ourselves, there’s been a collective feeling that it’s not good enough, and we need to do more. Anyone’s work that you are going to respect over a long period of time isn’t just a few freak successes.
“In many ways, whether you’re a recording artist or a visual artist, you begin to worry that it will not be as good as that moment you were most known for. So, we carry with us the burden of success to some extent, but we are also confident about is that if we worry about things enough and think about things enough, we will find what makes it a relevant solution.”
This process of “over-thinking” extends to the way that the practice prepares for projects, taking a broader, macro approach when entering discussions with the client. Toyoda explains: “When we get appointed, it might sound silly, but we often don’t really think about lighting in the first instance. We take not just one step, but 10 steps back to look at what the job is about. Many of the early presentations and conversations that we have with the client have very little to do with light – we talk about people and experience and what the job could be. That helps our clients realise the project’s potential and establish ambitions for what it could be. We don’t have a design template because it’s all contextual. Like architecture, working with light is totally contextual, so understanding the context, not only the geographical context but understanding the people and the culture, and ultimately the users, is fundamentally important.”
“The architectural approach, right from the outset, was very much one based on what architects refer to as genius loci,” Major adds. “In other words, we look at each individual project entirely separately, coming at it with completely fresh eyes. Even if you’ve worked on something similar before, you have to mentally set that aside and draw upon your experience as you go through the project. It’s been one of the founding principles of the practice and how we have worked from the outset. It’s why we’ve never done rollouts.”
Bradshaw continues: “You might think that there’s something commercially naïve about that, but it’s because we constantly try to stay excited by the work. I wouldn’t say that we are post-lighting, but the reason why we delve into the fundamentals of what a project is about at night and stop using the word ‘light’ is because you can then have a much more profound conversation with the client that they weren’t expecting to have. We try to open up the possibility of enriching the project by understanding where it is, what it is for, and what it willbe for in the future. Those conversations can lead to a much more dynamic expression of what we might do in response.”
“Part of it is that we’re good at questioning other people, whether it’s the client or the architect or whoever,” Ruxton adds. “Not in a bad way, but we’re quite good at being disruptive in the design team, shaking things up and looking at things more deeply. Sometimes people aren’t receptive, but other times we’ve made some significant inputs to projects that were not directly down to lighting, just by turning up with a different way of thinking.”
“It’s understanding the nature of each individual project,” Rose continues. “There have been occasions where we have actually talked ourselves out of projects because having considered it fully, ultimately, we felt it was not the right thing to do.”
Fletcher-Smith comments: “The initial research phase is so interesting for all of us. Exploring a new avenue or discovering something new about an industry or a type of building or area gives you a greater affinity with the project and the confidence that you’re doing something with value; it isn’t superficial; it has meaning. This understanding is something we can hold on to for the entire duration of the project, which in some cases is many years. It helps guide us as the project evolves, and difficult decisions need to be made because we continually come back to the project’s essence and try to remain true to that.”
“And of course, It needs to be done but it still needs to look and feel brilliant as well,” Bradshaw adds. “It’s a very fine line, but we still live and work in the visual arts, and there’s still an excitement and joy in light. We have to be mindful that we are trying to fulfil lots of things. Success means something quite different now from what it used to.
“When we talk about projects, people’s experience is fundamental. Of course, the images still look great, and we still get James [Newton, photographer] to take amazing pictures, but what I always think is great is when you look at the people that are there and what they are doing, you can see they’re having this wonderful, passive experience. It isn’t just about whether a detail is quite right, it’s whether the space feels good.”
While the idea of treating each individual project as its own separate entity may seem like a challenge, the team explains that it is possible to use previous experiences as a guide to try something new, or bring something new to a different sector.
Fletcher-Smith says: “You learn what the basis of the needs of a project might be, but then you focus your energy on the bits that could be unique or different. It’s a valuable experience you don’t entirely disregard, but rather look at what you could do that is different.”
“The variety of projects that we work on means that they actually inform each other,” Rose adds. “For instance, you might be working on a heritage project alongside a large airport, and you might be inspired to use one or two details from the heritage project in the airport – that crossover of thought is really important.”
Donahue Bremner comments: “One of the things that means it is never the same is the palette of what we work with. It’s not just light, and it’s not just the details. If we dig into the archives, we might see that we have used the same type of detail dozens of times, but with each project, the result is influenced by the team, the aesthetics, the history, the research, and then the way the light works differently with the different materials. It’s not just one thing; we’re not just working with light and dark; we’re working with a whole series of other, ephemeral ideas.”
“It has to do with self-discipline as well,” Roos adds. “It is much more straightforward to do a rollout if you have a pile of details, and using those would make life easier, faster, more efficient. But we’ve never gone down that ‘efficient’ route because of the philosophy of the practice. We know that as soon as you remove the creativity, you lose that naïve approach to the world where the magic lies. But it’s a constant battle, and we naturally question ourselves all the time.”
Looking to the future, both of the lighting design profession, and of Speirs Major as a practice, the team agrees that there are many areas in which it could, and will, change.
In keeping with the studio’s recent restructuring, Roos believes that the world of design will move to a more democratic setup. “It’s a very interesting time to be a designer, because if you look broadly, not just at lighting, and not just us at Speirs Major, I think design is shifting away from the idea of central egos, the world of star architects and atelier super designers, to a world where design is more democratised, and influenced by different factors, by collectives, by groups that draw from an incredible range of factors.
“Each of us needs to listen, to set our own ego aside – it sounds easy, but it is not always easy, I can admit – but it has to happen because the world is different. I think the star architect is on a path to extinction; it will be replaced by something else.”
As for design as a whole, there are several different areas in which Speirs Major expects change. Roos continues: “We need to keep developing research because the design world is changing so much. At the moment, it is all about circularity and being better for the planet, and light is at the centre of that.
“For us, we have to look at what we can do that makes a difference, what makes an impact, and balance that. We still have a huge creative input to make a space that everybody can enjoy because there’s absolutely no point in making spaces that nobody enjoys, but we have to think about how you do that in a more progressive way.”
Major adds: “What we find challenging at the moment is the amount of complexity and contradiction in the world in which we’re living and working. We’ve got a long history of working with urban lighting and challenging lighting standards, driving lighting levels and therefore energy and light pollution down, and working hard to talk about retaining dark spaces – things that aren’t always popular when you talk about other conflicting issues such as safety and security.
“But the other part of what we do is about creating joy, magic, and something special. We don’t want our clients to say, ‘All the boxes have been fantastically ticked, but actually, it’s a miserable experience you’ve created after dark’. Even if they check all the necessary and fundamental boxes, a lot of lighting schemes can end up less than they should be. So, that aesthetic side of our work is something that we are trying to continue to explore.
“Basically, we’re asking, ‘Can we have our cake and eat it in a world facing climate change?’ That’s what keeps us buzzing at the moment, and the fact that we don’t have all the answers is exciting in a way, and we are constantly seeking to find those answers on every project.”
“You can boil it down simplistically to ‘do good’, don’t just minimise harm,” says Fletcher-Smith. “We ask ourselves, can we contribute something good rather than just preventing damage? That comes into light and health a lot, certainly in the biological side of things – the increased awareness of circadian rhythms. But what about bringing joy? What psychological impact will you have on people, and how can we contribute to that so that there is an overriding good to our projects?”
“The issue is evidence,” adds Bradshaw. “We live in an age where evidence or data seems required to prove everything. But what is the evidence of joy on a scale of one to 10? It’s so subjective. But if we keep that in the vocabulary as we go, we’re not scared to say, ‘We did everything that we were meant to do, but look what we got for it’. That’s where we’ve always demonstrated the few extra things that we’ve done to bring a bit more life to it. For me, that way that we communicate and collaborate has always been super important.”
Roos continues: “It’s a very exciting time to be a designer, because we know that in five years, the world of design will be very different, but we do not know how. That goes for all design professions, which is exciting because we don’t know where we will end up being. It’s an outstanding, hugely complicated puzzle.”
“We must remember that we work for humans; humans are our clients – they’re the population of the spaces that we work within,” adds Bradshaw. “And humans are very complicated moving targets. They change, they evolve, and they find pleasure in changes. The more that we can remain empathetic as designers, it will lead to an appropriate result. We’ve always been good at collaborating, understanding, and looking deeply into things; the more we continue to do that, we will stay relevant to what people want and then write that large into what a public space needs to be or what a developer wants their building to look like.”
“Once upon a time, there was an original question of what are we going to be, and if you synthesise all of that together, the answer is we don’t know,” comments Ruxton. “But the point is what we will do is we will keep on listening, keep on looking, and keep on being open. As Benz says, things will be very different in five years; we know what many of the important challenges are now in sustainability and circularity, AI, and various technological things. We know what’s going on at the moment, but whatever is going on in five years, we’ll be ready for it. We’ll be open to it as soon as we see it peeking over the horizon, we’ll work to get our heads around it. We’ll continue to be open and flexible and hungry for knowledge, and able to respond appropriately.”
For Toyoda though, as he looks to the future, there is another important, but equally difficult, question to ask. “There are a lot of questions that we need to ask ourselves, but the most important one will always be ‘why’,” he says. “What we do can often become a bit distracting to the process, but the fundamental question is why we do what we do. If we can answer that question confidently, then regardless of where the solution comes from - our creativity or AI or wherever we know that we are doing the right thing. It’s not just about finding the best way to make a project look good or any other conflicting issues we must address. By asking why, then we can make a judgement as to how far we want to go with a certain idea. It’s an essential part of the process.”
While ‘why’ may seem on the surface to be an introspective, philosophical question, Bradshaw says that over the past few years, particularly in the depths of the Covid lockdowns, it became necessary for the practice to assess its position, look at the work that it is doing, and prepare for the future.
“Why has been a question that has always been a part of the practice. We know how; if you’ve been doing it for as long as we have, it isn’t that complicated,” he explains. “Being a lighting designer isn’t like being a furniture designer, or even being an architect or a landscape architect, in that the ego doesn’t exist in the same way.
“If you look at our projects over time, if you’ve got an expert eye, you could recognise not necessarily a house style, because you can’t have a house style when you work on all these different things, but there’s definitely an attitude to projects.
“I enjoy looking through our old projects because it focuses my mind, and you boil down to the essence of what we are as a practice. This phase is something that we have been thinking about this phase for a long time, but there was a lot of deep thought over that two-year lockdown period where we were working out if there was such a thing left as lighting design. What is it that we are excited about?
“Like most traumas, it gave us a great sense of renewal, to ask what we are going to do with this new lease of life, this new opportunity.”
So where does Speirs Major go from here? What does the future look like for the practice? As Roos and Ruxton speculate, nobody knows what the lighting design world will look like in five years. However, you can be sure that Speirs Major, under its new, democratic stewardship, will still be at the top of its game, continuing to produce outstanding works of lighting design that will delight and inspire, as it has done for the last 30 years.
Atlantis The Royal, UAE
With its unique façade, the Atlantis The Royal hotel is the latest addition to Dubai’s ever-expanding skyline. Light Touch PLD was tasked with illuminating the mega structure and its luxurious interiors.
At the edge of Jumeriah Palms, the extravagant Atlantis The Royal Hotel crowns the shoreline as the newest landmark of luxury resorts of Dubai. Its peculiar shape of bridging towers contests the more conventional neighbouring buildings that comprise Dubai’s skyline. Designed by some of the world’s greatest designers, architects and artists fashioned the building on the myth of Atlantis, an underwater world, to create a narrative in conjunction with its sea-front location.
The hotel takes the luxury resort experience to new heights, spanning 406,000sqm across 46-storeys. This is the hotel where guests can live among the clouds in its expansive terrace space, private balconies and pools, and a sky garden supported by the 500-metre-long and 178-metre high “mega” structure positioned on the outer crescent of The Palm Island. Within, the building offers various eateries and leisurely spots among its 795 rooms, suites and penthouses.
A design of this magnitude and grandeur needed a lighting design company familiar with such large-scale projects. Light Touch PLD fit the profile, with an extensive history of resort experience across the Middle East, therefore knew they could be trusted with the brief.
Paul Miles, Partner and Principal Lighting Designer at Light Touch PLD, says: “We received multiple briefs on the basis of the scale and various components of the project, working with a number of world-class architects, interior and landscape designers. KPF New York was the lead architectural firm that had an initial aspiration on how the building should appear by night.”
With water being the focal idea of the building’s design, the lighting design needed to not only coincide with the concept but also link features, aspects and even people in connection with the narrative. Working with globally renowned architects like KPF New York required a close collaboration, therefore the night-time appearance was integral to bring the architect’s vision to life. The hotel has an incredible, unique façade that lends itself well to the use of linear lighting along the straight edges. The lighting is therefore designed to develop layers, to simply light the forms of rectilinear stacks, with the ability to adapt the colour as necessary.
“There was a big reliance on the balcony lighting to offer life and activity on the block ends,” Miles adds. “Due to the organic nature of the building, our role was to offer depth and life to these facias to give the impression that there was life beyond considering these are actually sheer walls. Three lighting treatments were offered to achieve this: the outline to offer the far vista accent, a subtle wall wash to the front of the terracotta slats and integrated LED to the false vision panels to offer depth and life to the facias.”
The building’s balconies played a huge role in how the light was perceived at night. Light Touch PLD created a bespoke product to achieve a soft indirect wash to each partition sheer, where each balcony is naturally controlled by the in-house guest. GRMS systems within the building give the landlord and client the ability to override the local control and have access to change the balcony lighting for specific events.
The Myth of Atlantis was the central theme across all aspects of the project, a task that can be conflicting when trying to harmonise both a theme and an ultra-luxury feel. However, the attention to detail was quintessential to create an experience for everyone inhabiting the hotel, this includes back of house and staffing areas. Light Touch PLD credits both the owner and the developers of the property, ICD and operators Kernzer, who felt the staff areas were just as key as the guest experience.
A project that has been 10 years in the making was bound to face a multitude of complexities and challenges throughout. For instance, time is arguably intrinsic to change; team members and management evolution was inevitable, each bringing new designs and protocol to be implemented and adapted. Time also allows external factors to come into play such as construction complexities and, of course, the pandemic. However, this unconventional project would have the material to create solutions in unconventional circumstances.
Teresa Enroth, Principal Lighting Designer at Light Touch PLD, says: “At the time, developing the lighting market was both a challenge and an opportunity. The main design phases lasted from 2015 to 2019, with updates and changes continuing into 2022. The opening date was pushed back due to the complexity of construction coordination and the pandemic, but Light Touch PLD was present on site with dedicated personnel from 2018 until after the opening in 2023. Having dedicated lighting design construction administration is uncommon but critical for a project of the size and scope of Atlantis The Royal. Considering the specifications were created six to seven years prior to the opening, we are very proud that the outcome still reflects a new project as if it was specified yesterday.”
The other-worldly nature of The Atlantis meant extravagance was taken to max, which came with the biggest challenge for the lighting designers – scale. Miles explains: “Whether it’s lighting the world’s largest jellyfish tank, illuminating a skull DJ booth, or figuring out how to illuminate an acrylic pool... this is only to name a few, as there are so many unique aspects to this project that we could go on forever. With years and years of experience in the market now, overcoming challenges is what we like to do best.”
Sophia Stezenko, Principal Lighting Designer at Light Touch PLD, adds that the nature of the curving architecture, and thus the interiors, required some diligence in alignments and fixture selection. She says: “Some structural constraints, particularly during the post-contract stage, necessitated additional reviews and re-design in some areas, such as the façade and sky pools, to accommodate placement issues.”
Light Touch PLD has said its philosophy is that lighting design is a complimentary factor and that its job is to create an atmosphere and highlight the elements. With more than 40 manufactures supporting the project and hundreds of product types due to the diversity of the design styles within the building, this meant extensive testing of a multitude of aspects in finding the right fixtures. Miles believes that the dimming stability was critical and a major challenge with LEDs. The key was conducting extensive tests on a range of devices to ensure smooth dimming.
After 10 years of diligence, obstacles and external setbacks Light Touch PLD ensured the initial design was achieved. Not only has the lighting designed fulfilled a very happy client’s wishes, but also illuminated the hotel to create the grand palace the designers had envisioned. Located 5km off the coast then, the hotel is a visible focal point from the Dubai Marina, thus taking the crown from the original Atlantis hotel as Palm Jumeriah’s focal landmark. When asked which of the lighting aspects impacts the grandeur of the hotel, Miles says: “It’s difficult to pinpoint one particular component that highlights this building; however, a common hidden compliment is when the most promoted images of the project are at night; the façade tips the balance here.”
Key team promotion for Lighting Design International
(UK) - Lighting Design International has announced the promotion of one of its team’s senior designers, to the role of associate. Sandra Brookes will assume the role with immediate effect, strengthening the practice’s 20-strong senior management team.
A trained architect and lighting designer, Brookes has more than 20 years’ experience in the lighting industry. Since joining LDI in 2017 she has worked on a diverse range of projects, from luxury residences, superyachts, high-end restaurants and exclusive 5-star hotels worldwide.
Brookes trained at The Bartlett School of Architecture and – being fluent in Spanish – studied at the Unversidad de Los Andes, Colombia, where she gained valuable insights in her architectural studies. Brookes was given the opportunity to study in the Danish Royal Academy of Arts, where she continued her architecture training.
It was in Denmark that she decided to pursue a career in lighting design, as the Danish sensibilities to light made her aware of its subtle yet powerful ability to change and enhance architecture.
Her notable projects include the Four Seasons Astir Palace Hotel in Greece, which won the Best lighting for the Bar & Restaurant Awards for the Avra Lounge, and the newly opened Four Seasons Hotel Doha, Qatar.
Sally Storey, Founding Director of Lighting Design International, said: “We are exceptionally fortunate to have Sandra as part of our team. Her international experience on a range of complex, high-profile projects, along with her unique talents and conceptual expression in lighting design, make her a real asset to the team. I would like to extend my personal thanks and congratulations to Sandra for a job well done and I look forward to seeing her take flight in her new role.”
On her promotion, Brookes said: “I’ve always had a passion for lighting design and have relished the opportunity to work on some fantastic projects that have indulged my creativity and problem-solving. I feel very much at home here at Lighting Design International – the team is so friendly, talented and passionate, it really does feel like we are part of something special.”
www.lightingdesigninternational.com
Grimanesa Amorós to headline LiGHT 23
(UK) – Internationally renowned light artist, Grimanesa Amorós will headline the [d]arc thoughts talks programme at LiGHT 23.
Taking to the stage on Tuesday 21 November, Amorós will present 'Illuminating Boundaries: The Exploration and Creation of Art Through Light', followed by a Q&A session with arc magazine's editor, Matt Waring.
Amorós is a Peruvian-born American multimedia creative whose work explores community connections intersecting history, technology, and architecture. Her keen understanding of structure enables her to create monumental sculptures incorporating various elements such as video, lighting, and electronic components to create immersive environments and connect the viewer to their surroundings.
Technology complements the concepts of her work without defining it – a medium of expression. Describing her work as a "constant romance with the unknown", Amorós first incorporated light into her practice following a fated trip to Iceland. While there, she saw the Northern Lights and realised the powerful ephemeral magic light held. She discusses light's ability to transcend social and geographic boundaries "we all connect to light."
Drawing upon critical cultural legacies and landscapes, Amorós is inspired by the communities she creates within. Installing and programming each piece on-site, direct interaction with the surrounding architecture is key to creating her work. "Ultimately, the piece connects the viewers, space, and light sculpture, merging them into one." Grimanesa Amorós' artwork ties the past, present, and future – pushing viewers to think beyond and challenging their initial perceptions.
Commenting on her involvement in the UK's only exhibition dedicated to lighting specification, Amorós said: "LiGHT 23 will be where those who love light can unite and convene about the latest tech and how light is being used. Join me for this year's LiGHT 23 to learn how light and art intermingle and how to live in 'A constant Romance with the Unknown'. I am looking forward to seeing you all.”
[d]arc thoughts, in collaboration with lighting control specialist Lutron, will take place on the Gallery level, in a dedicated conference space. Running for two-days as part of the wider LiGHT 23 exhibition, talks and presentations will focus on trends and innovation within lighting, while being moderated by arc and darc magazine editors as well as guest editors. All talks are completely free to attend, and the full talks programme will be announced in coming weeks.
Registration for LiGHT 23 is open now. Information on how to attend can be found here.
