LIA receives boost from UK Regional Growth Fund
(UK) - The Lighting Industry Association (LIA) secures £1.3m funding from UK Regional Growth Fund.
Funds will further develop LIA’s laboratory services (LIA Laboratories) and new Lighting Training Academy to cope with increased demand. It will house a unique R&D centre that will be available for UK manufacturers to use and develop new lighting products.
LIA will build a Lighting Academy that will provide education, learning and awareness services for the whole lighting supply chain. Located at LIA’s HQ in Telford, courses will have a ‘hands-on’ feel and will introduce new lighting technology and low energy initiatives.
LIA CEO Steve Davies commented: “These new facilities will be a fantastic asset for the industry. It will shorten lead times for the introduction of new products especially for the UK SME market and will raise awareness of the potential of such products - consequently jobs will be secured and created both within the Lighting Industry Association itself but also across the Lighting Industry as a whole."
The Lighting Academy will be a unique proposition for the industry. Whilst LIA will continue to deliver and develop its technical content for the lighting industry, the scope will increase to include the retail and wholesale aspects of the market.
Already the UK’s largest independent lighting test laboratory, the new facility will house new ‘state-of-the-art’ testing equipment that ordinarily would be out of reach of many of the Lighting SME’s.
LIA Laboratories is accredited by the United Kingdom Accreditation Service (UKAS) to ISO/IEC 17065, general requirements for the competence for product certification, the main ISO standard used for certifying a products safety and performance and has plans to extend its capability for European and world-wide accreditation services.
Novo Nordisk, Denmark
Novo Nordisk’s new headquarters in Bagsværd, Denmark, is the work of Henning Larsen Architects. Home to the company’s top management, along with around 1,100 administrative staff, the architecture consists of two office buildings sited in a verdant and inviting landscape, inspired by the Danish forests and landscapes. The largest of the two buildings, NN1, is six stories tall, is characterised by a cylindrical massing and comprises a central atrium, auditorium, offices, meeting rooms, quiet rooms, a library, classrooms, kitchenettes and canteen.
The complexity of the insulin molecule was a source of inspiration for the architecture, with the helix structures of the insulin molecule creatively informing the building’s rounded form, the atrium’s spiralling inner staircase and the dynamic white balconies. The architecture aims to create a lively space for people to meet, where synergies can be created between employees across different fields, and with guests from around the world.
The second building of the campus, NN2, is a wedge-shaped, four story edifice. It has an independent formal expression, yet still relates to the circular-formed neighbouring building. The wedge-shaped geometry of NN2 creates a coherent complex of lower polygonal buildings, which help stage a focal point – the circular main building, NN1.
From early on in the design development, it was Novo Nordisk’s desire to bring in a lighting designer and so the lighting design team at Grontmij were heavily involved from start to finish. Based on the architectural visions of Henning Larsen Architects and Novo Nordisk, while considering the diverse functional and aesthetic needs, Grontmij’s lighting design team created a lighting strategy that ensured an overall lighting concept and hierarchy for the integration of various lighting elements.
The lighting strategy has worked to accentuate the building’s iconic significance and identity, the movements and flows throughout the building, and its appearance and functionality during the daytime, evening, and night time hours. So strong was this strategy that Novo Nordisk was awarded the 2014 Danish Lighting Award. This was achieved through a varied lighting environment, where orientation and movement are controlled by vertical lighting, low placement of lighting elements, and variations in lighting levels and lighting characteristics (for example, variations in direct and diffuse lighting, as well as colour temperatures).
Anne Bay, Jury Chairman and Director of the Danish Lighting Center commented: “The lighting is integrated and enhances the architecture and the building’s functions without drawing attention to itself. This project exemplifies the excellent developments in contemporary lighting design, where it is not the light itself that is eye-catching, but the architectural totality and the atmospheres that are created by the light,”
The strategy developed by the team at Grontmij has ensured sustainable lighting by prioritising illumination levels, placement and control. The lighting strategy has been an important design parameter throughout the entire design and construction process, and the detailed planning followed the same lighting strategy as well. Moreover, it has been a crucial factor in interdisciplinary understandings and communications.
The design and implementation of the lighting was carried out in close collaboration between the client, lighting designers, architects, interior designers, contractors, and suppliers, and the project-specific solutions were tested in onsite mock-ups. Based on the lighting strategy, concepts were then developed for the atrium, auditorium, library, meeting rooms, canteen and kitchenettes.
The cylindrical form of the atrium is highlighted by the vertical lighting of the wall surfaces in the atrium’s circulation zones, whereby the shape of the atrium is heightened. The circular staircase has lighting integrated into its handrail, which illuminates the wood treads in a manner that reflects the light in a warm glowing colour. The handrail naturally provides a safeguard, but its built-in lighting also illuminates the horizontal tabletop surfaces in the break out spaces located along the balconies. This safeguarding element becomes a luminous parapet that flows and wraps its way around the glazed roof of the atrium, which is accentuated by pale blue light. The parapet illuminated in warm white light contrasts naturally with the pale blue.
At the bottom of the atrium, smaller light-zones are created within the greater space with the help of floor lamps, table lamps and directed light from pole-mounted luminaires. These lighting elements create a more intimate ambiance and smaller momentary spaces that can be used for short meetings and briefer stays. The design also offers variations in light zones and lighting atmospheres, which simultaneously support the functional and aesthetic needs of the people using the building.
Throughout the entire design process the focus remained on integrating the luminaires into the architecture and avoiding glare so that light is primarily visible when it hits the various surfaces. The lighting system has been implemented using energy efficient LED light sources.
Furthermore, the lighting system has used luminaires that shield the light sources in order to avoid visual discomforts of glare to the greatest extent possible and the luminaires’ light distribution, colour temperatures and colour renderings have been selected based on the functional needs. For example, in the canteen, library, and meeting rooms, spots with a colour temperature of 3,000K, a Ra-value of +90 and a narrow beam light distribution have been utilised. This was done in order to create direct light that gives high-quality colour rendition on the surfaces of the tables in these areas. The direct light and the warm colour temperature support daily functions, as well as supporting direct communications between the people using the building.
The direct light has been combined with linear recessed luminaires and wide-beam spots (with a colour temperature of 4,000K and a Ra-value of +80) for the wall lighting and general lighting; this helps frame the various spaces and transitional areas. The combination of diffuse and direct light supports visual comfort, as well as one’s experiences of the spaces, forms and textures.
The second building of the Novo Nordisk Campus, NN2, offers a spectacular sculptural atrium, offices, meeting rooms, a canteen, and a diversity of ancillary spaces. Similar to NN1, this building’s focal point is its atrium, which visually and physically connects the four stories and manifold functions. The atrium has been designed with 50 skylight baffles that poetically disperse daylight into the space and the building’s core.
The design and direction of the skylight baffles, influence the play of light and shadow taking place in the building throughout the day and across the year. Daylighting’s dynamic behaviour juxtaposed with the design of the electric lighting’s intensity, direction, and colour temperature help to create the appearance of changing ‘ornamentation’ in the skylight baffles, as well as in the atrium and its adjacent spaces.
On the occasions when daylight is insufficient – such as evening hours and the winter months – the electric lighting comes to aid. The concept of the electric lighting involved creating lighting that partly supports the daytime lighting during periods of limited natural light, and partly contributes to the general electric lighting. Likewise, the electric lighting has been designed to accentuate the tectonics of the skylight and to create a welcoming and exciting atmosphere in the atrium as a whole. The electric lighting has been planned using ten different lighting scenarios; each programmed with a specific dynamic lighting configuration. The different colour shades shift in a slow tempo, characterised by a soft and gradual transition from one shade to another. Most of the scenes work with white light nuances, which span a spectrum from bluish light to neutral white light, and finally to warm light in the form of dark golden hues. The scenes are programmed to align with the daytime lighting’s diurnal and seasonal rhythms, as well as to demarcate special holidays.
Chifley Tower, Australia
Drawing comparisons to some of the world’s greatest buildings, such as the Chrysler and Empire State Building in New York, and the Petronas Twin Towers in Kuala Lumpur, the Chifley Tower in Sydney, Australia, epitomises the luxury and opulence of the Art Deco era.
Occupying one of Sydney’s most expensive sites, bought by the Bond Corporation in 1988 for AUS$306m, the 6,438.6 sq metre site, designed by New York architects Kohn Pederson Fox in association with Travis McEwen, is one of the most elevated in the city with harbour views never to be built out. When the time came to upgrade the main lobby and satellite lobbies, such an iconic Sydney landmark required a delicate approach, particularly with the lighting. While the fabric of the building was constructed from such quality material that it required no attention, it was felt it deserved to be celebrated in a more appropriate light. Design consultancy PointOfView (POV) was brought on board by building owner GIC to work on the upgrade of Chifley, having previously worked together on the exterior lighting at Sydney-based office accommodation No.1 Martin Place.
“The building has such a strong aesthetic our design had to look timeless and as if it was part of the original,” said Mark Elliott, Principal of POV. “This drove a bespoke solution whereby we designed all of the equipment used in the space.” The Chifley concept began with researching Art Deco buildings such as the Chrysler for inspiration, and then taking these approaches and developing them into a more contemporary style, bringing Chifley into the 21st century so that it can stand as a premium building for the future to come.
The palette of materials used in the original KPF design is a collage of fabulous stones with stainless steel detailing, Elliot commented: “The lighting approach was obvious to us, we had to freshen the space during the day, in order to enhance the daylight ingress while creating a more dramatic space after dark.
“We washed the rear wall, which draws the eye through the full height glazing into the space from an external view point. The light bouncing off the walls is what lights the space and together with uplighting to the ceiling, creates a sense of volume.” ERCO metal halide wall washers were used in the double height spaces, while ERCO LED wall washers brought single height spaces to life. In order to highlight the artwork featured in the lobby, ERCO LED track spots were implemented. To replace the previous suspended square light fixtures, which felt underscaled and awkward in the wing shaped lobby, POV custom designed a series of stainless steel rings made by Lightforce, providing uplight to the ceiling during the day through the use of Xicato LED modules and focused downlighting at night thanks to acdc LED downlights integrated into the rings. The materials used for the custom fittings were critical and had to match the existing stainless detail of the building – the grade of stainless steel, weight and direction of the brushing were all tested until a perfect match found.
Together with the rings, a custom cluster of pendants – also made by Lightforce and featuring acdc LED downlights - were suspended over the reception desk to anchor it in the space and give visitors a point of destination, where previously it had been lost in the open space. The lift lobbies were also suffering from a cave effect and so a new architecturally integrated stainless beam was strapped through the lift lobbies, connecting the existing lateral beams.
Elliot explained: “The previous wall light and downlight combination left the walls and ceiling dark. Lift lobbies are a critical part of the journey to the office floors, these transition spaces shouldn’t be forgotten.” The new beam houses T5 uplights to uplift the ceiling and wash light across the stonewall cladding, while downlighting from acdc enhances the diamond pattern in the stone floors. The upgrade to this space relied purely on the lighting to enhance it with light and with a new sculptural form.
“This kind of solution can only be achieved through custom designed solutions, the kind of work that we pride ourselves on,” said Elliott. “We light spaces but we also create beautiful objects to light from. This project demonstrates the power of light and how a it can change the face of a space.”
The aesthetics of the space are supported by all the usual sustainable design technologies; using LED and lighting control systems that harvest daylight and transition from day to night scenes, as well as out of hours settings ensuring the installation not only creates different settings, but is efficient in its use of energy.
Concluding, Elliot said: “It’s amazing to see how the style of architecture has changed from the late ‘80s to today. KPF are great architects and great architecture stands the test of time, a slight face lift was all that was needed to bring this gem back to life.”
Design LED expands senior management team
(UK) - Wolfgang Andorfer joins Design LED as Chief Sales and Marketing Officer.
Andorfer joins with eighteen years of business experience in the global lighting industry and more than sixteen years at OSRAM, seasoned in general management, sales and product management, including nine years as Senior Executive Manager.
Stuart Bain, Design LED CEO, commented: “The recent launch of our first complete products has generated a great deal of interest from the Lighting market. Following a highly successful interim consultancy assignment, Wolfgang joining the team adds a true industry heavy weight.”
Andorfer has also been Chair of the Global Lighting Association’s LED Committee for the last four years, a role in which he will continue. Bain added: “Andorfer’s knowledge and experience of our target markets will be invaluable as we progress and expand our product range throughout 2015 and beyond.”
Novo Nordisk headquarters wins Danish Lighting Award
(Denmark) - Novo Nordisk's new headquarters in Bagsværd has won the 2014 Danish Lighting Award.
The project, which features in the Feb / March issue of mondo*arc, is designed by Henning Larsen Architects in collaboration with lighting designer Grontmij’s Lighting Team.
Anne Bay, Jury Chairman and Director of the Danish Lighting Centre, commented: “The lighting is integrated and enhances the architecture and the building's functions without drawing attention to itself.” Bay continued: “This project exemplifies the excellent developments in contemporary lighting design, where it is not the light itself that is eye-catching, but the architectural totality and the atmospheres that are created by the light.”
The lighting design was created in collaboration between Grontmij Lighting and Henning Larsen Architects. The new headquarters consist of two office buildings (NN1 and NN2). The design process focused on integrating the lighting and luminaires into the architecture. The lighting system was implemented using energy efficient light sources, including high-quality LEDs and luminaires that shield the light sources to avoid the visual discomforts of glare to the greatest extent possible.
Bay added: "The light is subtle because it highlights accurately the forms, functions and atmospheres that were planned by the architects. Both the totality and the details have been executed with rare precision and high visual comfort.” She continued: “The lighting quality and colours of light accentuate the materials, shapes and colours, and in the places where the lighting is meant to be uniform, it is evenly distributed.”
Amongst the advantages of LED lighting is the possibility to create white light in precise spectral compositions that are needed to emphasise a particular material or colour as best possible. Amongst the challenges is the risk of glare due to LEDs small and bright light diodes. In each building there is a central atrium with a unifying staircase that is surrounded by working and ancillary spaces. Each atrium is designed with its own skylight.
Both skylights have customised coloured LED lighting that accentuates the two very different architectural spaces in refined and evocative ways. The colours are discreet, and in the situations where the lighting is dynamic, the colours of light are composed in a natural colour spectrum, ranging from deep petrol blue to warm ochre orange. The lighting has been programmed in slow and poetic rhythms that are experienced over time.
Lumenpulse announces US launch of AlphaLED
(USA) - Lumenpulse launches high-performance LED downlights and spotlights.
The launch sees over 30 LED luminaires from European brand AlphaLED – acquired by Lumenpulse in July 2014 – converted into a full offering for clients in the North American market.
Francois-Xavier Souvay, President and CEO at Lumenpulse commented: “This launch marks the North American debut of a successful European brand.” Souvay continued: “Lumenalpha gives clients and partners immediate access to a trusted, well-respected product line with a long track record of success.”
AlphaLED products have sold more than 500,000 units and completed projects in over 40 countries. In 2013, AlphaLED received a Queen’s Award for Enterprise, one of the UK’s most prestigious business honours. It also won the Manufacturer of the Year prize at the 2013 Lux Awards.
“AlphaLED is extremely well-established in Europe and Asia, but until now, these products have been beyond the reach of North American specifiers. We’re thrilled, therefore, to be able to give them access to a line of solutions that have already earned a seal of approval from leading brands and specifiers in the hospitality and retail segments outside North America,” Souvay said.
Lumenalpha downlights and spotlights are now available for shipment. The product line will be exhibited in the US for the first time in May, at Lightfair 2015 in New York City.
Luce&Light Litus
The spotlight housing is flush with the floor making the Litus range the ideal choice for installation on pedestrian walkways, as they do not protude from the surface and there are no architectural barriers to use. Available in a round or square version with three types of spotlight and a diffused beam, the Litus also features a turned aluminium body and tempered glass with anti-scratch treatment.
IZB Residence, Germany
Design hotel IZB Residence, located in the heart of the Martinsried Life Science Campus, stands at an impressive 27-metres high - encompassing seven-storeys and featuring incisive, elegant design. Rising from a triangular floor plan, the IZB is designed as a faculty club serving as a meeting place for guests and scientists from the surrounding research facilities.
Designed by Stark Architekten of Munich, the building is a communicative focus of the campus, comprehensively lit by Occhio. In charge of the lighting design was Occhio's Helen Neumann, who commented: "The briefing given to us was simply a rendering of the building with its specific façade and the floor plans for each storey. Our first drafts showing the idea of curved ceiling trenches luckily struck with the architect immediately and after a year of refinement the harmonic result emerged.
"Together with Stark Architekten, we developed a lighting concept always keeping the 'bigger picture' and all-over result in mind." With the building’s front embraced by white aluminium strips, the internal lighting concept pursues the principles of connection: architecture, interior design and lighting blend together just as the internal spaces do. When visitors first enter the hotel they experience the continuation of the façade’s dynamics inside, through the reception and restaurant area. The dark suspended and decorative ceiling wells playfully mirror the curved design, while also assuming the function of a chain, onto which 123 surface-mounted Occhio Più alto spotlights are threaded. The rhythmic arrangement of the spotlights and luminaires enables the targeted lighting of the individual zones and at the same time guides the visitor through the space.
"The open floor plan concept for the public areas was supposed to appear consistently in one design," commented Neumann. "However, the different areas required different lighting atmospheres according to their purpose. We had the idea to design ceiling trenches that thread the luminaires like pearls on a string meaning they could be distributed among the space and create a calm ceiling view. Theses trenches became one of the signature features of the building.
"With the combination of LED and low-voltage halogen the different areas could be lit accordingly to their purpose by keeping one consistent luminaire design." Covering the first six floors of the IZB are twelve junior suites and 24 rooms, in which diverse areas of usable space are seamlessly interconnected and equipped with Occhio’s universal lighting. The workspace in each room is lit by a Sento tavolo table luminaire (42 in total), while the headboards are lit by a Sento letto wall luminaire (again, 42 in total are used). Where sitting areas are featured, a Sento lettura floor luminaire lights the space; and 36 of the rooms feature a Sento filo suspended from the ceiling into the room.
Along the hotel’s corridors, the walls are shaped with Duna shape spotlights marking access to the lift, helping to orientate the guests. At the same time they form a symbolic tree trunk through the entire building, right up to the top storey where the Faculty Club G2B (Gateway to Biotech) - the centrepiece of the building - is found. This 170 m² club room, with modern furnishings and a view of the Alps, serves more than 600 professors and some 100 managers and CEOs of the IZB on the campus, acting as a place for communication and the interdisciplinary interlocking of people and their ideas. The first member of the G2B was Professor Edvard Moser, winner of the Nobel Prize in medicine 2014.
The open ground plan of the club, which stretches across the entire story is divided into different function areas and includes a spacious bar area creating an inviting atmosphere for discussion, while high seating elements providing a private framework for gatherings, and a private dining area is available for business meals. There are 85 Duna shaped spotlights trailing across the ceiling – randomly arranged and providing functional lighting for the diverse areas, echoing the principle of the melding of architecture and lighting.
Concluding, Neumann added: "The greatest moment for me was seeing the building during the construction phase and then again after completion. Suddenly all the virtual pictures and 2D plans turned into reality and you could literally feel the harmony that emerged. A beautiful, organic and puristic interior with a very welcoming and sensitive ambience was achieved."
Rogier van der Heide
Why did you move from Philips to Zumtobel?
When I joined Philips it was an interesting moment in time because of the shift in lighting technology and the decisions that meant for a huge business like them. I had a great time but I wanted to work with a 100% lighting company. There are other lighting companies of course but Zumtobel has always been involved in application working closely with architects and lighting designers. I’m a lighting designer so this appealed to me. I’ve known the Zumtobel family for quite a while and we have had discussions in the past but there was always something getting in the way. Now was the right time.
What is your role at the Zumtobel Group?
My role (Head of Design and Marketing) is a very influential one, heading a small group of passionate people to drive the company forward. We are in a process of transformation. Based from what I saw at Light + Building we have some catching up to do. Ulrich Schumacher came on board as CEO just over a year ago and it’s his goal to make Zumtobel healthy and fit for a future that is faster. There will be an interaction between my creative vision and what we structure in our programmes to develop a cohesive portfolio of innovative products. The focus on LED by most of the lighting industry has been energy savings. Most of the big companies haven’t thought about what we can do with LED that we weren’t able to do before if we combine it with other technologies. That is starting to happen now and I want to be at the centre of that.
Do you have any specific goals for the Zumtobel Group brands?
I want to create an ecosystem rather than treat the three main brands (Zumtobel, Thorn and Tridonic) as separate entities. The approach to the market of the three brands has always been very different but by working closer together we have an ideal opportunity to give the market what it wants by simplifying the whole process. We are working on ideas but it would be great if every Thorn product had really intelligent, connected light for example. Why not? It doesn’t have to be just the really high end brands that have this. Why can’t Zumtobel have beautiful, aesthetic exterior products? There are no reasons why. I can’t tell you it will definitely happen but it’s a wish of mine.
Will you continue to work with architects and designers to develop products?
Yes, we will but we will also work with new talent, both from architecture and other disciplines, to come up with a new road map of ideas. It’s easy to hire a famous architect to design a product, pay a fee and then it gets specified on a few of their projects. But it’s not enough. We need to build relationships in which the continuous exchange of ideas gets established. For that you need to show your passion. Many large lighting companies fail to make real choices. They try to cover everything, they have huge complex catalogues but it’s too much for architects who have to think about every element of the building. Of course we still need catalogues but we should be talking with architects and others to create real lighting solutions, to make catalogues more relevant.
Will the policy of supporting lighting designers on projects continue?
Yes, we will always support lighting designers on projects where they are involved. But of course in some markets there are no lighting designers and in this case we can offer a service that includes lighting design. This doesn’t compromise lighting designers. On the contrary, everything we do at a high level grows the market for all. Lighting designers benefit the more great lighting design is out there. The reaction from lighting designers when the news came out that I was joining Zumtobel has been very positive. There’s a lot of love out there for Zumtobel!
Why is Zumtobel opening a Lichtforum in Amsterdam?
Unlike previous Lichtforums, it will be a centre for experimentation. The great architects and designers from the past like Frank Lloyd Wright, Charles and Ray Eames were not scared to experiment with materials to create and I think we need to be like this with light. We have to create lighting solutions with experts from other disciplines like the arts, science, healthcare or behavioural psychology or even app developers to drive a programme of innovation. I want to make smart lighting that is more holistically connected than just the driver and the lamp. I want to connect to the rest of the world. I have no idea how to do that yet but I want to find a way.
Why specifically Amsterdam?
It’s nothing to do with the fact that I live here! The language and travel connection advantages are obvious but Amsterdam is so creative in design, architecture and technology, with a lot of great talent. Many great architects are based in the Netherlands like Mecanoo, MVRDV, UNStudio, OMA etc. Hi-tech companies like Cisco, Google, Microsoft and IBM have their European headquarters here. They are all now looking at lighting and I am very interested in working with them. They don’t care about the mechanics of manufacturing lamps but they can bring some fresh ideas to the debate. Everyone at Zumtobel cares passionately about lighting and we can bring our expertise to the table.
You had some time between leaving Philips and joining Zumtobel. What did you get up to?
I was busy! I went back to my roots and did some small lighting design projects. I also had more time to dedicate to this year’s Amsterdam Light Festival (I’m the founder) which was very rewarding. And I am involved in a documentary film about light based on a theatre production of Prometheus: The Poem of Fire by Alexander Scriabin that I’m working on. Scriabin composed the piece about light in 1910 when electric light had just been invented. There have been several productions of it when lighting has been involved but this will have a modern, fully immersive lighting interpretation. It will be shown here in Amsterdam in December this year for the International Year of Light.
Onze Lieve Vrouwe, Netherlands
Standing at 98m tall, the Onze Lieve Vrouwe tower shines brightly over the geographical heart of the Netherlands, thanks to a lighting makeover by lighting designer Jeroen Jans.
While local authorities were enthusiastic about the project, there was no funding available and so Jans set up a non-profit organisation to raise the required funds in just nine months. Now considered a beacon for Amersfoort and its people, the tower’s lighting upgrade took two years to complete, with Jans envisioning the tower as “a magical structure projecting unity, balance and synergy through lighting.”
Jans’ main objectives were to drastically reduce light pollution and achieve a 50% reduction in power. In order to achieve this, the lighting had to work from the inside out, ensuring no external shining of beams onto the building, and no fixtures and fittings were visible. This vision was achieved with the help of light engineering company Lomans, which installed Osram Traxon and CLS LED lighting fixtures. The Osram fixtures includes two types of liners, the XB27 and XB36, both of which use different colour temperatures and lenses to give each part of the tower a specific texture.
There were 138 CLS LEDs supplied in three types of fixtures - the Revo-basic, the Revo compact and the Mirjam. Each fixture has its own lens and colour configuration and is relatively small so doesn’t affect the building’s architectural aesthetics. The Revo fixtures lower the power consumption and limit the loss of light to reduce light pollution, thereby exaggerating these aesthetic details with focussed and directed lighting. The Revo Series’ lenses are fully interchangeable, lighting all details of the tower thanks to the different beam angles.
The project was not without its challenges however and Jans described how it was difficult to fix anything to the tower without causing damage. In order to design skirting boards for the three long walkways, Jans worked closely with Cultural Heritage Agency of the Netherlands to come up with something that could be integrated with existing security fences. The newly lit tower was revealed in November last year with the local residents receiving it with enthusiasm and pride.
Lamp 83 expands
(Turkey) - Istanbul-based lighting manufacturer continues operations in new facility.
Istanbul Dudullu Organised Industrial Area, with an open area of 8.000 m2 and closed area of 14.000 m2, will facilitate the growth of Lamp 83.
With direct trademark exportation for more than 30 countries, Lamp 83 has a new production capacity of more than 1,000,000 pieces annually and fully-modernised machines/equipments.
Focusing on qualified personnel, Lamp 83 provides new experiences for both its personnel and customers in its new factory building. New facilities including gym room, hobby room, and a conference hall with 60 people capacity with “lighting stimulation centre and showroom” of 2,000 m2 will now be in use.
The new facility will officially open in spring to reveal the 52-year “journey of light” based on the company’s principles of “Proper Lighting”.
Whitegoods appoints new Sales and Marketing Director
(UK) - Whitegoods Lighting appoints Christopher Burridge as Sales & Marketing Director.
Burridge’s experience in lighting sales and management is key to Whitegoods’ focus on delivering world class service and project support.
Douglas James, Founder and Director of Whitegoods Lighting, commented: “Adding Chris to the Whitegoods team is a huge step forward for us and his experience and skill set will benefit all of us.”
Having previously worked for Light Projects and KKDC, Burridge will carry through to Whitegoods his role in the implementation of a solid sales team and ensuring excellent overall sales support for the industry. With a degree in mechanical engineering from Brunel University, Chris will also be involved in new product development and will be able to relate closely to Whitegoods customers, helping to ensure products offered directly address the needs of specifiers.
Burridge added: “I’m really excited about the future and the opportunity to be part of an established UK based manufacturer that produces high quality and well-designed products with a clear philosophy and identity.”