Stoane Lighting ZTA.70
Stoane Lighting’s ZTA, a product range that offers true circular manufacture, is expanding.
ZTA.70 is bigger, whilst maintaining the same clean and simple aesthetic, can offer tight beams and higher output (more than 3000lm initial in ≥90 CRI), and has the same flexible choice of light sources, optics, mounting methods, finishes and accessories.
Like all in the range, it carries circular economy principles in product design to easily allow upgrade in future, be that for light source, control or mounting methodology.
Kingfisher Artelys
Combining elegant Italian design with powerful reflector technology, the Artelys series is the perfect solution for street, architectural and public realm lighting. Available in two body sizes as well as in a decorative lantern, and with an array of options such as optics and output, low colour temperatures, mounting styles and control compatibility throughout; this truly is a versatile luminaire.
eldoLED 48V DC 32W
eldoLED’s 48V DC 32W LED Track Driver maximises quality of light amidst track lighting miniaturisation and form factor constraints. It’s the only programmable track driver on the market that meets flicker performance industry requirements while achieving high-quality deep-dimming (0.1%) and tunable white applications. Make any hospitality lighting dreams a reality with DALI-2 DT8(Tc) lighting controls and eldoLED’s intuitive LightShape colour temperature and intensity control technology.
IBL Darklight
The new architectural Darklight downlights from IBL are available in sizes ranging from 60mm-100mm in diameter and a power consumption from 4.5W to 20W. The low glare specular reflectors come in polished chrome, polished black, matte black and polished gold (on request). Offering precise optics using the IBL Light Gathering Lens (LGL) technology, they can be dimmed using any dimming protocol. Two trimless options, with standard or plaster-in trimless kits are also available, as is a large selection of CTT, including dim-to-warm.
Filix Arpool
The Arpool Iris family of IP68 underwater adjustable luminaries brings a revolution in pool and water feature lighting design. With a 360° rotation and 20° tilt, the penetration of light through water goes beyond the optical capabilities. Multi-zoning, covering dark sports and creating depth illusions are easily achieved with vertical and horizontal installation. With a single IP68 connection feed, easy maintenance and replacement of engines is possible without removal from water.
LightGraphix Compact Downlights
LightGraphix has launched four new downlights - LD780, LD782, LD790, and LD792 - with single colour, 2-tone, fixed and adjustable options, rated IP65 for interior, exterior and marine applications. Bezel diameters start at 46mm, achieving an excellent size to output ratio delivering over 400lm. Colour temperatures range between 2200K-5000K and beam angles include several medium and a super tight 10° narrow. A single deep recessed optic ensures ultra-low glare, superior beam shape and no multiple shadows.
Hacel Aart
The new Aart Power Spot range by Hacel combines a contemporary style and minimalistic design with powerful performance and functionality. Featuring an adjustable beam in midi and micro sizes, the Aart is ideally suited to retail and spotlighting applications.
Available in a choice of lumen outputs, delivering up to 3845lms, it features adjustable beam widths (10° 20° 35° 50° 60°) and tilt adjustment 0° to 90°.
ELR Coin 24CV Recessed/Surface
Coin 24CV Recessed and Coin 24CV Surface puck lights are LED module hybrid luminaires derived from ELR’s Coin-24CV low height LED module, operating on 24V DC constant voltage that allows multiple luminaires to be driven by a single non-dim or phase/0-10V/DALI/DMX dimmable driver. These puck lights are equipped with built-in ATePSTM technology that protects LED lifetime against abnormally high temperature conditions and comes in ProART CRI~95, are especially suitable for applications within display shelves, kitchen cabinets, countertops, etc.
CLS Ruby Series
With the introduction of the new Ruby Compact series and many new variants of the larger Ruby, CLS offers an incredibly wide and deep portfolio of surface mounted and suspended fixtures. No less than 40 different lighting sources are available including RGBW, RGBA, Tunable White and Dim To Warm versions. Control options are DALI, DMX 512, Wireless DMX and Casambi Bluetooth. The Ruby series are furthermore available in four different power and four different mounting versions.
Unilamp Micro Alpha/Kubik
The Micro Alpha and Micro Kubik are compact in size and provide an unobtrusive lighting solution that will enhance any exterior setting’s beauty.
Colour temperature choices include 2700K, 3000K and 4000K with narrow beam, medium beam, wide beam and elliptical beam distributions.
An earth spike and tree strap are available as standard accessories. With public safety always in mind, the Micro series operates with low voltage.
Parkroyal Collection, Marina Bay, Singapore
At Singapore’s Parkroyal Collection Marina Bay, Light Collab has used light to breathe new life into the vast atrium space, creating an energising space both for guests, and for the abundant plant life.
The recently-renovated Parkroyal Collection, Marina Bay (formerly known as Marina Mandarin) in Singapore has seen the remaking of neo-futurist architect John Portman’s spectacular hotel. Originally built in 1987, the existing hotel has been transformed, with its vast atrium now filled with plant life and vibrant light, thanks to a new lighting scheme designed by Light Collab.
On entering the hotel, guests are greeted by an abundance of lush greenery, most notably a 13-metre green wall, and cascading planters that create a scenic, 180º view of a forest. The journey into the hotel also includes entering a glass lift and, on reaching the fourth storey, crossing a gently lit bridge, flanked by more greenery, to the reception desk.
Light Collab became involved in this re-lighting project after the client recognised the need for a lighting designer, due to the complexity of lighting up the newly introduced greenery in a space with little natural light, along with the new interior design scheme.
The challenge for Yah Li Toh, Principal of Light Collab, was to introduce layers of light into the impressive atrium space, working with limited existing lighting points, integrating the new and old elements, as well as effectively illuminating the trees and planting scheme with healthy, biophilic light.
While grow lights are definitely needed to support the growth of the garden, achieving certain technical requirements of photosynthetic active radiation levels, the general concern was how the exposed grow lights would co-exist with the general lighting and impact on the desired ambience for the hotel.
Toh explained further: “The architect had a vision of bringing the garden indoors, so we did a site study and measured the amount of daylight and PPFD (Photosynthetic Photon Flux Density) available at different times of the day, and unfortunately we realised that there was little PPFD that would be able to sustain the life of the plants and trees – the PPFD measured as little as 2-6 µmols/sqm on average in the proposed plant positions, while the botanist recommended levels of a minimum of 150-200 µmols/sqm, after conditioning the plants to require less daylight, in comparison to outdoor conditions of more than 1,000 µmols/sqm. There was also a limited time of exposure to daylight too.
“Although in Singapore, there are examples of green walls with plants and ferns being lit by grow lights, this is the first time that trees were planted in an atrium with very little daylight - as little as 2 µmols/sqm - and where the plants would be very visible to hotel guests from all angles at all times. The higher the output of PPDF, the higher the light intensity naturally. This meant that we needed a strong concept to work with the grow lights – they needed to have very controlled optics, with optimum PPFD output so as not to ruin the ambience of the hotel, focused enough to optimise growth on the trees and shrubs, and also co-exist well, look good, natural, and not give out the purple hue commonly seen in grow lights. We also studied and tested many brands of grow lights available, and the cost and performance differs greatly.”
The overall lighting concept was to enhance and complement the built form with the soft forms of nature. To do this, Light Collab therefore sought to use very controlled optics, the highest PPDF per watt, high R9, colour rendering and tunable white solution of the grow lights; by keeping the colour temperature at 3800K during the day, it creates the feeling of being in a forest in daytime, while in the evening, the temperature reduces down to 3100K, transforming the space into an atmospheric gardenscape. Lighting levels change throughout the day, responding to the natural lighting environment and the needs of the greenery. The grow lights also double up to form part of the overall scenes and ambience of the atrium, which was originally too dark before the renovation, while also supporting plant growth.
Complementing the grow lighting for the plant life, Light Collab also developed the interior architectural lighting for the common spaces of the hotel. This has been designed to enhance and highlight the ambience of the space, as well as elements of the interior architectural features, to create more focus and emphasis on the gardenscape. Light Collab’s lighting design incorporated the overall lighting in the reception, atrium space, as well as the landscape lighting. Lighting in the dining areas was also designed at ambient levels, allowing the greenery to take centre stage.
The key architectural considerations for the new lighting, Toh explained, were to “respect John Portman’s original architecture, and the new interior elements, features by FDAT Architects and the landscape content by Ramboll Studio Dreiseitl”.
Respecting the original architecture meant, for Toh, working around the huge, curving atrium space. Illuminating this vast space proved to be a challenge, but it was one that she relished. “In addition to the complexity of the 360-degree view, the growlights and plants, the upper guestroom corridors still had the original lighting strategy, which was implemented in 1987,” she said. “Some of the features were retained, such as the corridor lighting, which was kept darker so as to not gain too much attention. But the form of the atrium also posed challenges for light mounting options. It was interesting to try and work with the new elements, while respecting and balancing the existing elements.
“For the rest of the hotel, we also tried to balance the focus and bring attention to the atrium and the gardenscape,” she continued. “For example, in the all-day-dining restaurant, there were also special interior design features, but it was also about the view and the connection into the atrium. The interior design heavily used mirrors, reflective materials and curves, which all required careful integration.”
Throughout the project, Light Collab worked closely with the interior designers, along with the rest of the design team, to ensure that the lighting became synonymous with the wider design scheme. “For certain features, the other design consultants had an idea of how it should be lit, but it mostly required a vision to tie the concept together. There was a constant communication back and forth, and we hoped to be able to bring new perspectives to the space that the interior designers may not have thought about.”
Hanging in the centre of the atrium, suspended high above the plentiful plant life, is Orchidea, a sculpture created by American artist Richard Lippold. This sculpture was not previously lit with much consideration, instead just illuminated with some floodlights that had been in place since the 80s. Toh sought to use light as a means to breathe new life into the sculpture and make it the key focal point of the space. “We tried to bring new perspectives on how light can interact and bring life to the sculpture,” she explained. “Being metallic, it presented opportunities to create a shimmering effect.
“We used four narrow beam spotlights to highlight the sculpture, so that when the metallic parts move, they also create an interesting shimmer. We were limited though by the available positions to place fittings in the atrium without being too obtrusive and glaring to the hotel guests from various viewing points.”
In bringing new light to the Orchidea, Toh was presented with the opportunity to transform the sculpture into an integral feature of a light art show, interacting with its metallic forms and bringing extra life to the atrium each evening. The show, which runs hourly from 7-9pm, sees the atrium shift from a gardenscape into a futuristic space of light and sound, bringing out the artistic playfulness of the architectural elements within the atrium space.
The two-and-a-half-minute show has been designed to engage onsite volumes and planes with the Orchidea, enhancing the interaction of light and space with the suspended wires and geometric forms soaring through the atrium and engaging the space as a whole, further bringing out the mood of euphoric futurism and spiritual aspiration.
The combination of the artistic lighting for the Orchidea and the grow lighting for the plant life meant that this was a unique project for Light Collab, with a wide variety of challenges and hurdles that needed to be overcome. However, Toh explained that, with the support of an understanding client, they were able to comfortably overcome these challenges.
“It is the first project that we have completed where grow lights are used on trees in an interior space where there is not much daylight. The challenges are different, as we had to use artificial light to try and ensure the survival of the plants and trees, so my team and I felt a huge responsibility for this,” Toh explained.
“When we first conceived the idea of the various scenes in the atrium changing throughout the day, transforming from a “forest” to a “garden”, we also went further and looked at how we can possibly bring together all the elements in the atrium, together with the setting, the greenery, and the Orchidea sculpture, how we can transform the atrium with special scenes so that in this interior space, there is opportunity for variety, and things to happen. This is even more important, since there is no view out from the enclosed atrium, except for the skylight. Thus we felt it was important to create changes in scenes, to break the monotony at intervals. The client was very supportive with all of our ideas, allowing them to become reality.”
Since the project was completed last year, Toh has seen a swell of positive reaction to the new lighting within the hotel and how it serves to complement the overall space. She said: “We were excited and curious to see how people would react. Overall, we were delighted to see people taking photos and posting on social media, saying that it looks great at every angle, without having to add filters.
“We also noticed that people would come out of their guestrooms, and restaurant-goers would come in to see the Orchidea light show. Guests in the atrium would start becoming curious about the transformation happening.
“Lighting has brought life to the atrium for the people, while also doubling up as survival for the greenery – it is the perfect bridge for both people and plant life.”
Naera Hotel, Spa & Art Gallery, China
Merging art and light to create a beautiful feeling of escapism, Klaasen Lighting Design has helped to turn the Naera Hotel, Spa & Art Gallery in Xitang, China into a picturesque, relaxing retreat.
Born out of a passion for art, organic farming and international luxury travel, the newly-opened Naera Hotel, Spa and Art Gallery in Xitang, China, has been designed with rest and relaxation in mind. The resort, situated just over an hour’s drive from Shanghai, is the realisation of the childhood dream of owner and developer, Zhu Shu Lei of Xitang Zhidi Cultural Development, who, after failing to find an international operator brand that shared the same views and vision for his hotel concept, decided to create his own brand.
The resulting Naera Hotel is part of a wider redevelopment of East Xitang, and has been created to reflect his desire to provide a retreat based on top quality service, spa and wellness treatments, mixed with the beauty of art and the nourishment of organic farm food; around 2,000 different teas have been selected to be made available to guests, providing a different selection of teas in rooms each day.
A destination for escapism, from the moment guests arrive, they are transported into a different world. The drop off point is screened off from the busy main road by a dramatically illuminated wall, and guests enter through a “landscape portal”. From here, they travel through a meandering, uplit screen maze that leads to the reception. The deliberate maze walk is intended to wind people down on the way, centring their minds and spirit in calmness. Art works are also located along this walkway, and throughout the hotel, giving each journey a sense of exploration and discovery.
The Naera Hotel, Spa and Art Gallery has been designed by Shanghai architects Leeko Studio to reflect a typical Chinese garden, with all public spaces located around a central courtyard. Lighting for the resort was designed by Martin Klaasen and Grace Eng of Klaasen Lighting Design, with the intention of being the “glue” that reinforces and brings out the uniqueness of both the architectural design, and the interior design of Horizonal Space Design’s Ju Bin, while also adding to the sense of exploration, showcasing the artwork and creating a peaceful feeling of calmness in the Chinese garden. Throughout the resort, Klaasen and Eng utilised warm colour tones, concealed lighting and controlled light levels, with accent lighting to highlight artworks, in a scheme that adds to the experience for visitors.
“We didn’t have a specific lighting brief, but our approach was implicitly based on my prior collaboration with the interior designer, who loves our approach of concealed lighting, focused accents and controlled lighting levels, bringing into value the key features of the overall architectural and interior design,” explained Klaasen. “Our design style and understanding of the lead consultant’s design philosophy was key.”
The prior relationship that Klaasen shared with both the architect and interior designer Ju Bin is something that he feels helped throughout the process, as there was an immediate, implicit understanding between their goals and ambitions for the project. “When Ju Bin was approached for this project, he insisted to the client that he wanted us to be appointed as part of the team as well,” Klaasen continued.
“The close collaboration that we had was key to the success of this project, but more than that, it was the mutual trust and respect, and the ensuing friendship between the owner and his consultants that created the base for the success. When each expertise is valued, respect and understanding is shown for each other, the results generally surpass expectations, as was the case in this project. It also makes the collaboration a joy and motivates each member of the team to put in the extra mile.”
The harmonious relationship that Klaasen has with Ju Bin helped to create a space in which the lighting is seamlessly integrated within the wider architectural and interior design. Light serves as a tool to enhance the interiors and bring extra focus on the smaller details within each area, whether this is one of the art exhibits on display, or the materials used by the interior design team.
“Lighting is often called the glue that gels everything together, so the identity is created by the architect and interior designer, mostly. The lighting designer’s role is to create the appropriate lighting effects, moods, accentuation and dynamics that reinforce this,” Klaasen continued.
This is particularly evident in the entrance walkway, where the lighting is kept very minimal – there is no signage or downlighting, light is only used to illuminate the panelling that lines the corridor, with additional spots on the pieces of artwork on display. This minimalistic approach is something that was key to Klaasen’s lighting design, adding to the sense of intrigue and discovery for guests. “It was a deliberate choice, and one that came after close consultation with the design team and the owners to make sure that we were all on the same page,” he said. “As a general rule, lighting should have a supporting role, not a dominant or overpowering role. It’s about the space, and the experience of the space, not about the lighting itself.
“The intrigue and exploration of what the hotel has to offer is brought to life by the lighting, and by carefully choosing the lighting effect, the angles of impact and the moment of visibility as you move around. As the guest journeys around the hotel, the task of the lighting designer is to reveal the spaces, their architectural features, and art as a visual experience. It is planned, and it is timed.”
On practically every corner of every area throughout the resort, there are pieces of artwork – from guest rooms to the corridors, restaurants and even the washrooms. Klaasen Lighting Design therefore added focused spots of light to showcase each individual piece. However, this was not without its challenges, as Klaasen explained that going into the project, they didn’t realise quite how much artwork there would be. “We always knew that there would be art and artworks, but we never knew to what extent, how big, what shape, what size,” he said. “It was only in the last few months before the opening that we started to get a feel for what this fantastic art was going to be.
“We had to challenge ourselves to find solutions, because we had provisional lighting put in place, but it was without really knowing what was going to be put where, and I think even the artist only decided on some of the artworks once he was here. That meant that the infrastructure for lighting was there, but it was not perfect. We had to improvise along the way to bring in some additional lighting, move some lighting, maybe add in some conversion lenses or spread lenses – find ways to adapt to the situation that we had with the lighting that was already in place.”
The willingness and ability to adapt is something that proved beneficial for the entire design team throughout the project, as Klaasen explained that there were some instances where the interior designers would have suggestions for the lighting, while conversely, on other occasions, Klaasen posed alternatives for the interior design that would allow lighting to be better integrated.
Such examples can be found in the cove lighting, which required several adjustments to get just right, and in the recessed step lighting as well. However, despite these various challenges, Klaasen believes the strong sense of communication helped them through: “Like in all projects, your design is as good as the end result, so communication, supervision and site assistance to the contractors implementing your design are crucial to its success. Explaining and educating all parties involved in the realisation of your lighting design of the installation requirements and the intended lighting effects to be achieved is crucial.
“The challenges become even bigger if there are language barriers, but luckily our team was able to communicate our design intents in detail, and supervised to see the intended effects achieved.”
The desire to create a sense of wonder and discovery through lighting extended to the outside areas of the resort as well. The hotel is built around a central courtyard; inspired by typical Chinese gardens, this courtyard consists of a large body of water, punctuated with islands of trees and a central pavilion. The lighting here sought to utilise the reflections of the water to create a magical feeling of peace and calm.
This feeling was enhanced by the deliberate decision by Klaasen to avoid using any façade lighting on the hotel’s exterior. Instead, light emanates from within the building, where people are seen as silhouettes moving through the connecting corridors and walkways – it was a design decision that transforms the courtyard completely after dark. “During the day, the natural light lights up the building, you can see the architecture, you wonder what’s inside. After dark, it’s exactly the opposite,” he explained. “At night, the effects are practically reversed, with light radiating out from the interiors.”
This design decision meant that the lighting designers had to work hard to ensure that all outward facing areas had balanced lighting, with brightness kept at a level so that overall, it looked consistent and uniform – a difficult task when these areas, including the restaurant, bar, tea house, lobby and library, all had different lighting requirements. This was achieved though, through clever positioning of the lights and carefully managed dimming levels.
Because of the enclosed nature of the central courtyard, Klaasen had the opportunity to use the outward facing areas as elements in a special, colourful light show that can be viewed from all around the hotel. Playing at the top of each hour, sometimes with increased frequency, the show consists of carefully selected colours that slowly move or change. The play of colours has been designed to be non-intrusive, so that it does not interfere with the normal operations or public activities of the hotel, but instead creates a relaxing experience for guests to enjoy.
Since the hotel was completed, it has received a great deal of praise, from the staff at the resort who claim that the lighting design is some of the best that they have seen, to the interior designers who feel that Klaasen has truly captured the “Oriental” style of lighting. The client has also said that the lighting adds the “finishing touch to the hotel”, and Klaasen believes that the approach of the client was integral to the success of the project. “An understanding and respectful client that validates and trusts your expertise, mixed with a great vision and understanding of design and the design process, made a great difference,” he said.
“As a designer, a happy client is all you can wish for. It means you have more than satisfied their expectation, you validated their trust in you. If, as part of that, you also feel \you have fulfilled all your own design visions and expectations, you have realised a project close to perfection, something that does not happen often.”
He concluded: “The great collaboration, respect and understanding between the client and the design team has created a result beyond everyone’s expectation, myself included. It seamlessly integrates lighting, architecture, interiors and landscape as one overall experience.”
