dbell

Illuminated River, UK

Following more than two years of planning, the first phase of the Illuminated River project was finally unveiled in July.

The project - an ambitious new art commission for London that will eventually see up to fifteen bridges along the River Thames bathed in new light installations - is the result of an unparalleled collaboration between London-based and international creative talent, local authorities and partners. Free to view, and accessible to all, Illuminated River hopes to act as a symbol for London’s creativity, ambition and spirit.

The artwork aims to celebrate the architecture and heritage of London’s historic bridges, and will encourage more people to enjoy the river and the riverside at night. Artwork for the first four bridges – London, Cannon Street, Southwark and Millennium – is expected to be seen more than 60 million times each year, by Londoners and visitors alike.

Conceived by internationally-acclaimed artist Leo Villareal alongside architectural practice Lifschutz Davidson Sandilands, Illuminated River is a philanthropically-funded initiative supported by the Mayor of London and delivered by the Illuminated River Foundation. Working with seven different local authorities, Illuminated River is the biggest single planning application ever made without an act of Parliament, and is the first time that the bridges along the Thames will have been cohesively and artistically lit.

The Foundation, led by Director Sarah Gaventa, developed the project in consultation and collaboration with more than 50 organisations on and around the Thames, including the Port of London Authority, Historic England, Transport for London, Network Rail, London Wildlife Trust, the Zoological Society of London and Cross River Partnership, alongside the seven local authorities, who have granted 30 planning permissions and eighteen listed building consents.

The first four bridges of the scheme are now lit up in unison, with sequenced LED patterns subtly unfolding across each unique structure. Villareal’s artwork replaces outdated and inefficient lighting on the bridges, providing a more long-term, sustainable solution for lighting the Thames. Designed by Atelier Ten, the lighting will minimise direct light spill onto the river and reduce energy consumption. While the former lighting ran all night, from dusk until dawn, Illuminated River’s connected LED lighting from official lighting supplier Signify will be switched off at 2am. 

Villareal’s artwork continues in the footsteps of generations of artists who have been inspired by the Thames, using Signify’s connected LED lighting to ‘paint with light’, drawing on colours influenced by the palettes of Impressionist and English Romantic painters. With shifting hues that mimic the London sky during sunset, moonlight and sunrise, and gently kinetic patterns that are inspired by the natural and social activity of the river, Villareal’s artwork celebrates the Thames as London’s living artery.

The artwork has also been sensitively developed, paying attention to heritage, wildlife and the location of each bridge, respecting and revealing their individual histories and architectural features. The dynamic public artwork refocuses attention on the Thames bridges as social, historical and architectural landmarks, and celebrates their role in London’s global identity.

Signify’s Color Kinetics LED luminaires have been used to illuminate the bridges. Colour Kinetics Graze luminaires have been employed to light up the sides of the bridges, while the underneath features Colour Kinetics Reach Elite fixtures. Elsewhere, Colour Kinetics Blast luminaires have been used to light the bridge piers. These are all controlled using Signify’s Interact Landmark system, which will centrally manage the new connected lighting for all fifteen bridges.

Once completed, the project is expected to feature more than 22,000 LED light points, all monitored remotely by the Signify control system

Site works for the first phase of the project began in January 2019; two years after the winning team was announced by Mayor of London Sadiq Khan, and closely following the granting of planning permission. The Foundation is on track to complete phase two by Autumn 2020, which will include Blackfriars Road, Waterloo, Golden Jubilee Footbridges, Westminster and Lambeth bridges.

Once completed, Illuminated River will span from Albert Bridge in the west to Tower Bridge in the east. At 2.5 miles in length, along 4.5 nautical miles of the Thames, it will be the longest public art commission in the world, and is anticipated to be viewed over a billion times during its ten-year lifespan.

Coinciding with the launch of the first phase, the Illuminated River Foundation also announced an extensive, UNESCO-endorsed public programme. From boat and walking tours to exhibitions and new music commissions, the initiatives have been devised to celebrate the bridges and help reconnect people with the river.

At the centre of the engagement programme is a collaboration with Guildhall School of Music & Drama. Composers from both the Composition and Electronic Music Department of Guildhall School have been commissioned to create original scores inspired by the heritage, architectural context and Villareal’s artwork. The compositions have captured the character of each bridge, with some arranged for orchestra, and others using spoken work poetry, found sound and electronica to tell the story of the structures.

Listening to the pieces, audiences will be transported to past eras, to the time of Medieval candle makers of Candelwrichstrete (Cannon Street), or to the hustle and bustle of London’s frenetic Victorian streets. All the pieces act as an homage to the ebb and flow of the river, and the bridges that have enabled the city to thrive.

With each piece responding to one of the bridges, the Illuminated River Foundation has worked with various partners across London, including VocalEyes, who produce audio descriptions for blind and partially sighted people, to make the compositions accessible and available to the general public.

Hannah Rothschild originated the idea of lighting the bridges, and is a trustee of the Illuminated River Foundation. A supporter of the project throughout, on the launch of the first phase, she said: “The River Thames is London’s liquid history and its beating heart, and the bridges are the arteries connecting north, south, east and west. But at night these extraordinary structures, each with a unique history and style, evanesce into darkness and obscurity. This project, one of the world’s longest and most ambitious cultural commissions, will transform a snake of darkness into a ribbon of light, threading art through the heart of the city.”

Sadiq Khan added: “From the Fourth Plinth to art on the Underground, our city has a rich heritage of showcasing public art, and I am delighted that Illuminated River is bringing more free and accessible artwork to Londoners. The Thames has played a key role in the growth and development of our capital for centuries, and this unique artwork will help Londoners and visitors see it in a whole new way. The Illuminated River will celebrate the unique architecture and heritage of our bridges, showcase creativity, boost life at night and transform the way we think about the Thames.”

Leo Villareal continued: “With Illuminated River, the largest artwork I’ve ever conceived, I’m hoping to follow in the footsteps of Monet, Turner and Whistler and reveal the truly unique, inspiring and poetic character of the Thames. Studying the river and the history of London for the last three years was a fantastic experience that changed me and allowed me to grow as an artist.

“The integrated nuances and motions across the bridges create a unified piece that celebrates and enhances the river as a continuous living entity. I’m both delighted and humbled by the completion of this initial phase, and I can’t wait for the public to experience the first four bridges.”

Finally, Alex Lifschutz, Founding Principal of Lifschutz Davidson Sandilands, exclaimed: “This arts project will illuminate not just the river but also the history and architecture of our wonderful city by revealing its iconic bridges in a new light. The art subtly reveals their beauty and in some cases their muscularity, transforming even the humblest railway bridges into iconic forms. Of particular interest to me is that transformative quality – with literally the lightest touch, the art alters our view of our city and unites the river as never before.”

www.villareal.net 
www.atelierten.com

by dbell

dpa in Dubai, UAE

Since establishing its Dubai studio in 2004, dpa lighting consultants has steadily grown its portfolio in the Middle East, with a number of high-profile cases to add to an already impressive array of projects; from the Palm Jumeirah Masterplan in 2006, to Abu Dhabi’s New York University in 2008, the Capital Gate and Central Market in 2012 and the Founder’s Memorial - The Constellation, unveiled last year.

This portfolio has been extended further in the past eighteen months, with the addition of five new projects in and around Dubai.

Of these new projects, perhaps the most notable is the beautiful Mandarin Oriental Jumeira - a newly constructed, 5-star resort-style hotel located on Dubai’s Arabian Gulf shoreline.

Over a period of four years, dpa worked in close collaboration with the client and owner, WASL Group, Mandarin Oriental Hotel Group and architects DAR to design the lighting solutions for all public front of house areas of the hotel, both internally and externally.

Interior design for the guest rooms, public areas and ballroom facilities was undertaken by Design Wilkes, while Silverfox Studios provided the interior design for the Spa and Fitness Centre and the specialty restaurants, The Bay, Tasca and Netsu. Landscape design came courtesy of 40North and Cracknells.

dpa worked with all parties from initial conception stages, ensuring that the lighting design is cohesive throughout the hotel, as well as integrated within the interior design and architecture. By following the project through the construction stages and maintaining a regular presence on site, dpa ensured that the designs were fully understood, and coordinated with the various contractors, suppliers, consultants and site teams.

Whilst all spaces are special in their own way, the most impactful moments within the hotel occur in the Main Lobby and the Netsu Restaurant.

The Main Lobby is essential in creating a lasting first impression for arriving guests; at twelve metres tall, it provided a challenge to ensure that the lighting was sufficient to adequately illuminate the space during daylight hours, with the dimming range to provide subtlety and ambience after dark.

A discreet system was designed and specified, featuring high output linear downlights from iGuzzini. The System 53 allowed all of the downlighting components to be integrated within a series of elegant, recessed shadow lines, orientated to match the rhythm of the architecture and the ceiling. The beam angles and positions of the downlights were designed to provide emphasis along the central spine of the space, and at seating groups. Wall washers and more ambient downlighting were also incorporated within the same system.

At ground level, there is a colonnade of fourteen ‘Light Trees’, designed by Design Wilkes and Preciosa, while dpa provided technical and aesthetic input. The Trees feature approximately 900 individually addressed LED light points, illuminating hand-blown glass leaves. The leaves are programmed to produce dynamic ripples of light, individually varying their brightness to create differing effects. 

The colonnade is arranged to lead the eye along the central water feature, and through to the landscaped, beach-adjacent courtyard and lap pool.

Additional illumination in the Main Lobby comes courtesy of LED Linear, whose XooLine Hydra White provides linear grazing uplight, while GenLED’s Neonflex adds concealed linear details around the water features. Elsewhere, VANN decorative wall and floor lamps are complemented by further illumination from Linea Light’s Archicove, KKDC’s Tana 504 S Line, iGuzzini’s Laser Blade and LightGraphix’s LD spotlights.

Within Netsu, a signature restaurant on the ground level, Silverfox Studios produced an industrial aesthetic, with a combination of rugged and natural materials.

The brief was to create a theatrical dining experience, and to use the central open Robata kitchen as a ‘stage’. In response to this, dpa implemented a series of suspended lighting trusses, mounted with Vision’s linear RGBW floodlights and projectors with variable beam angles and focusing. These projectors were used to provide warm white intensity at the points where food is displayed and served, and create dramatic coloured accents around the space. 

The linear floodlights mounted on top of the trusses provide a coloured wash of light to the MEP service at high level, accentuating the height and industrial aesthetic of the space. This is further emphasised by ETC’s Source Four Mini LED fixtures, while additional general illumination is provided by GenLED’s recessed ceiling downlights and linear LED tape.

Elsewhere, dpa worked with Dubai Municipality to create two remarkable exhibits at the Al Shindagha Museum: The Perfume House, and The Story of the Creek. 

Located within the dynamic and ever-evolving Shindagha district, the museum is a new addition to Dubai’s renowned cultural quarter, and both The Perfume House and the Story of the Creek represents a valuable insights into Dubai’s historic and contemporary story, alongside wider Emirati culture, social rituals and heritage.

The Perfume House sees a re-appropriation of its building, consisting of one main covered gallery with smaller galleries and an external courtyard, which helps to trace and define the narrative of scent and perfume making through the ages.

Individual galleries tell the story of the region’s complex and personal relationship with scent and perfume, whilst detailing the geopolitical and demographic impact associated with the inevitable trade routes that developed and strengthened over time.

The Story of the Creek, meanwhile, consists of main galleries and an interactive cinema experience, that helps to retell the story of Dubai Creek and its most important asset, it’s people.

For both locations, exhibition designers GSM Project developed a blend of traditional and contemporary, unique, interactive and immersive spaces that delight the senses while delivering a strong educational and heritage message.

dpa responded to this brief through the development of a robust yet flexible lighting concept that enabled all aspects of the museum experience to develop at an individual level. Traditional exhibits such as vessels and stonework, maps and chandlery were illuminated to enhance their tactile and material qualities, while more contemporary exhibits - such as interactive screens and models, history and scent stations - demanded a less intensive approach to illumination.

As impressive as the exhibitions are, the building itself acts as a canvas upon which the exhibition is cast. Extensive use of existing architectural features have been highlighted to enhance the contemporary exhibition against the more traditional building fabric, whilst still revealing colour, contrast, form and texture. This helps to complement and reinforce the sense of heritage within the building. 

A combination of Felio Sylvania Beacon Muse track lighting, alongside LightGraphix and iGuzzini downlights, provides the main illumination in the exhibition spaces. This is complemented by the addition of iGuzzini’s Lightup Orbit uplights, and LED Linear’s VarioLED profile lighting.

Technology has formed a significant part of the realisation of this project; a sophisticated, dedicated architectural lighting control system forms the backbone of the scheme, ensuring the correct operation of the system whilst delivering flexibility, along with costs and environmental benefits. Conservation also played a major role when it came to illuminating certain spaces and artefacts within the exhibition. dpa worked closely with the curators to deliver precise amounts of illumination to specific sensitive exhibits.

Following its work at the Al Shindagha Museum, dpa lighting consultants was invited to design the exhibition lighting for the newest gallery space in Alserkal Avenue.

Ishara Art Foundation is a non-profit contemporary art space centred on South Asia, established by Smita Prabhakar, collector and UAE resident, and curated by specialist in South Asian art, Nada Raza. The current exhibition, Altered Inheritances, is a collection of work from artist Shilpa Gupta and Zarina.

dpa worked closely with the foundation team, and architect Rahoul Sing from RLDA Architecture, to conceptualise and develop a flexible and modern lighting scheme for the two floors of the gallery. As the art pieces and gallery layout will change from time to time, the lighting needed to be flexible in design to allow for all eventualities, yet at the same time be uncluttered, elegant and identifiably different from other galleries.

A carefully considered arrangement of recessed track under the mezzanine level allows for multiple luminaire mounting positions, together with Erco’s versatile Pollux spotlights and Logotec projectors, with interchangeable lenses and local dimming potentiometers, so that every art piece can be correctly addressed.

For the atrium space, the ambient and iconic lighting is created by three diminishing custom-made squares, suspended from the structural ceiling. Developed alongside No Grey Area (NGA), each square is fitted with the manufacturer’s Fusion Flex linear LED, creating an unbroken line of light. This is seamlessly combined with Erco track, giving the ability to arrange any configuration of spotlights, allowing the gallery to tailor the ambient and direct lighting exactly as required by the exhibiting artists.

More recently, in January of this year, dpa completed lighting for the new Lutetia of Paris beauty clinic, located in Dubai Festival City. dpa worked closely with interior designers Kinnersley Kent Design (KKD) to develop the lighting concept for both the landscape and the clinic interiors.

A sense of opulence is inherent within the design; the narrative for the clinic suggests calm elegance and the use of high specification materials such as wood, leather and natural stone, lends itself well to this aesthetic.

Lutetia of Paris has a private underground car park, so privacy and discretion were always paramount within the design. Concealed illumination from LED Linear’s VarioLED Flex range, whenever possible, helps to define the high level of detail given to each area, while lighting to the waiting areas for both male and female customers lends an air of calm within the dynamic DFC environment. Meanwhile the corridor spaces contain concealed and integrated lighting within grey leather clad walls. 

Treatment and waiting/consultation rooms exist side by side and differ in character, creating an incredible challenge for lighting such defined spaces.

Le Barbier and Le Salon offer unparalleled levels of luxury and service within the personal grooming markets. This is highlighted in the individual stations, each fitted with integrated lighting in the mirrors, helping to maintain the high levels of privacy required.

Le Barbier follows a traditional ‘masculine’ material palette of dark metal, stone and glass, while Le Salon counters this with rich hues of gold panelling and pastel pink leather walls.

The VIP area follows through on this theme, as dark blue leather-clad walls offset against natural white stone and rich metallic accents. Lighting enhances the sense of luxury and quality through high levels of integration and detailing.

The use of Lutron’s sophisticated control systems for each area further adds to the feeling of quality through selective use of dimming and scene-set technology.

Shortly after the completion of Lutetia of Paris, Zabeel House was opened in the Greens & Views area of Dubai. Located in one of the city’s more diverse residential areas, Zabeel House carefully reflects its position, appearing as an urban oasis with a fresh, contemporary take on relaxed, informal luxury. This is accentuated by the lighting, which serves to both amplify and distil the best attributes of its surroundings.

On entering, the large lobby acts as a transitional space, helping to promote the high energy and vibrancy of this new development and its clientele. Spaces are functional with an emphasis on quirky objects such as oversized ants, vintage cameras and giant folded paper aeroplane structures.

The lobby space diffuses into the main bar, decked out with lush greenery that creates dappled and diffuse hiding spaces, and the Social Club dining area, designed to appear vibrant by day, and more opulent during the hours of darkness. Here, decorative lighting elements are complemented by a combination of iGuzzini’s Palco LV spotlights and Led C4’s Multidir Surface downlights, providing subtle illumination while adding a vibrancy to the greenery.

Guestrooms and corridors are treated simply, with focus maintained on quality of materials and textures, while the Business Centre offers a sophisticated and flexible environment in which network and conference go hand in hand. Softer illuminated spaces rub shoulders with large-scale glass-clad meeting rooms offering a more functional approach to light.

The gym, Health Club and treatment rooms are all versed in the same narrative, employing natural wood tones that contrast and complement with the more robust materials of wire mesh, breeze block and brick.

Lah Lah, the edgy Pan-Asian kitchen/bar brings this design language to its logical conclusion. Lush greenery again helps to break up the playful use of semi-industrial materials, while the lighting, controlled via a Dynalight control system, responds through varied states during the day and night, helping to create a vibrant space that is equally adept at hosting raucous after work drinks, relaxed dining or long, lazy lunches.

Speaking of the new projects, and dpa’s ongoing work in the Middle East, Nick Hoggett, Director of dpa lighting consultants’ Dubai studio, said: “dpa’s work in the Middle East goes back to 1976, working in collaboration with Howard Brandston on the Sheraton Hotel on The Creek in Dubai, and we have been active in the region ever since.

“We established a studio in Dubai in 2004 because of the level of work we were being asked to undertake there, and this has been incredibly successful for the practice as a whole, attracting numerous commissions covering a wide variety of project types. Work in Dubai remains exciting, and in recent times has seen a number of cultural projects come into the practice, as well as all the normal impressive hotels, retail and commercial developments, which adds a nice balance.

“Residential work is also significant, with both locals and ex-Pats wanting their properties to have high quality, well thought out lighting solutions, responding to the architecture and the family needs.

“Besides Dubai, the rest of the UAE and the whole region has a lot of interesting developments, some small and some incredibly huge and ambitious, which is very exciting for the future of dpa, both in Dubai, but also our Edinburgh, London and Oxfordshire studios, which are all also active with Middle East projects.”

www.dpalighting.com

by dbell

National Museum of Qatar, Qatar

After more than ten years of design and construction, the breath-taking National Museum of Qatar opened its doors in March of this year.

Designed by Pritzker Prize laureate Jean Nouvel, the museum was inspired by the desert rose - a crystal structure formed by sand, salt water and wind that naturally occurs in the Gulf state - and the unique architecture is intended to reflect the deep connection of the once nomadic people of Qatar with the desert, flora and fauna of the country.

Characterised by large convex disks, intersections and cantilevering canopies, the museum’s form is spatial and sensual, providing shade and refuge for visitors.

Inside, volumes of great expression emerge, with room sequences of both crouching and cathedral-like heights, sometimes evoking the intimacy of nomadic tents, sometimes the vastness of the firmament. Daylight filters in through gaps, apertures and spandrels in carefully selected locations, as the powerful, harsh sunlight of the region had to be tamed to fulfil conservation-related requirements. The natural light reveals the spatial room shapes, yet maintains a respectful distance to the mostly sensitive exhibits.

The exhibition itself takes the visitor on a 2.7km-long course that spans across the geological history in the Qatari peninsula’s distant past, introduces its flora and fauna, and illustrates the country’s rapid development from a loose affiliation of nomadic tribes and pearl divers of the past towards the technology savvy and affluent society of the present. Throughout, it focuses on archaeological findings and craftsmanship, as well as recent economic and political developments, while commissioned artworks from renowned local and international artists are also on display.

For the eleven galleries of the permanent exhibition, Licht Kunst Licht developed an architecturally integrated light narrative that accompanies the visitor in a scenic and suspenseful manner through the 700 million years of natural and cultural history of the Gulf state.

Because of the building’s unique design, the lighting designers at Licht Kunst Licht were asked in their initial design brief to “establish a lighting scheme that would not interfere with the architectural volume”, according to Martina Weiss and Stephanie Grosse-Brockhoff, Directors at Licht Kunst Licht who were Project Lead and Deputy Project Lead respectively.

“We were asked to keep both the light atmosphere and the fittings as unobtrusive as possible. It was even a request to make the luminaires ‘disappear’. Indirect lighting or a purposeful illumination of the envelope was not desired. In turn, this meant that we were looking into a more object-focused and introverted lighting approach, thus making the architecture appear through reflected light.”

The exhibition is characterised by a sequence of artefacts, models and reproductions in a variety of display cases, complemented by video projections and screens. The visitor moves between visual realms that barely overlap. The lighting concept had to take this progression into account, requiring a powerful orchestration of the exhibits and spaces.

For this reason, Licht Kunst Licht developed a two-layered lighting concept: general illumination provided by RCL’s Custom DR7 glare-controlled adjustable luminaires in the ceiling, and the emphasis of individual exhibits in the display cases by means of integrated and mostly invisible miniature luminaires, courtesy of XAL and corporate friends.

“The aim was to illuminate the exhibits rather than the space,” Weiss and Grosse-Brockhoff explained. “The approach using two layers was largely determined by two driving factors: first of all we tried to perforate the ceiling only where necessary. Secondly, we tried to minimise reflections of ceiling luminaires in the showcases. This motivated us to integrate lighting in display cases wherever possible. However, we didn’t use integrated lighting in display cases with glass ceilings.”

As part of their aim to “establish a lighting layout with as few ceiling apertures as possible”, adjustable RCL spotlights were recessed into the sculptural suspended ceiling. Light emanates through a small pinhole opening in a larger, flush mounted trim ring matching the ceiling colour.

The wide-ranging spatial geometries and extremely diverse exhibit proportions required varied photometric properties for the adjustable spotlights. Three different beam angles were used - spot, medium and flood - combined with optical accessories if and when required. These included sculptural lenses for an elliptical light distribution near walls, or honeycomb louvres for strong ceiling inclinations. 

The showcases in the National Museum of Qatar are as diverse as the exhibition spaces themselves. Some rooms become displays in their own right, other configurations intertwine showcases with walls or floors, or the displays become large magazines of shelving that house a multitude of differently sized exhibits. Each lighting solution is therefore carefully adapted to its location and contents.

The path through Gallery 2, for instance, leads into the underwater realm of the marine habitat. A projection, designed by multimedia consultant Ducks, immerses the life-sized sea creatures in sunlight-infused seawater with its softly rolling waves, as seen by scuba divers in the reef.

Invisible to the observer, iGuzzini framing projectors are concealed in the overhead space of the display, precisely accentuating the models without disturbing the light effect of the rippled, moving water surface.

While freely positioned, dematerialised glass cases are solely illuminated through the ceiling-recessed spotlights, all displays that form an interface with the architecture contain hidden light sources. Such detail is found in the wall-integrated Arthropod display. Here, the country’s native butterflies are lined up in a splendid array. Concealed in the upper and lower cavity is a group of XAL’s Nano+ Just 26 Focus miniature spotlights that detail the delicate texture and vibrant colours of the wings.

The biodiversity wall, by contrast, functions like an oversized cabinet. Species of various sizes coexist in modular compartments, which integrate their own concealed linear illumination. It creates a soft breath of light while the accent lighting comes from the ceiling.

Elsewhere, the Al Zubarah Trench shows burial objects in a floor cavity enclosed with glass. Hidden in small coves in the display’s cross-section are XAL’s small, pivotable Nano+ Turn linear LED elements that emphasise the exhibits on the floor. While, like mannequins in a shop window, the historic festive dresses and jewellery are displayed in a full height showcase. Invisible to the observer, corporate friends’ C1-STS 2.0 accent lights are mounted in a channel in the case’s ceiling, eliciting manifold textures and colours from the fabrics despite the low illuminance levels.

The highlight of the exhibit, however, is the Baroda carpet, embroidered with the finest pearls and gemstones. It is displayed on a sloping surface and protected by a surrounding vitrine that pierces into the ceiling surface. Following its sides are rows of very small spotlights, from corporate friends. These apply a layer of discretely overlapping light cones on the precious carpet, allowing its materials to sparkle brilliantly in the directional light.

While the building stands out for its unique shape, the distinct geometry of the space caused some challenges for the designers, as Weiss and Grosse-Brockhoff elaborated: “There are no orthogonal angles, no horizontal ceilings or vertical walls. Intersections and cantilevering elements create barriers that potentially shield light sources from exhibits or pick up scallops.”

As such, each zone, exhibit and associated ceiling integrated lighting had to be verified in a virtual 3D BIM model. The goal here was to maintain a sense of order in the ceiling layout, and to align fittings with gridlines and special reference points wherever possible.

“The virtual 3D BIM model was very helpful to coordinate not only the architecture, museography and lighting, but also the light fittings among all other building service elements in the ceiling,” Grosse-Brockhoff and Weiss continued.

Although intended as one continuous journey, differentiation occurs through the varying exhibits and displays, according to Grosse-Brockhoff and Weiss. “Mostly, the atmosphere of the spaces is rather introverted and object-focused,” they said. “The image projections seem to open up ‘windows’ and vistas, and create a level of radiance.

“In some spaces, the showcases and walls intertwine, walls become carriers of photographs, or include displays. In these instances, the spatial envelope becomes a luminous surface that blends into the sequence of projections. This succession of focused display cases, projections and wall displays creates a lively variety of introspection and extroversion.”

The wealth and diversity of the exhibits throughout the National Museum of Qatar addresses visitors with a wide field of interest. The quality, sequence and presentation of the exhibits create ever-changing themes, and involve all the senses of the visitors, who are practically absorbed by the exhibition, and the quality and abundance of impressions.

The lighting plays a subtle, yet significant part in this. The finely tuned interplay of all components, such as the sparse but spatially defining daylight, the accentuating ceiling light, the differentiated display case illumination and the wall projections, creates a sensory experience, that resonates with the visitor long past their visit.

www.lichtkunstlicht.com

by dbell

KAPSARC, Saudi Arabia

Early last year, Zaha Hadid Architects unveiled the King Abdullah Petroleum Studies and Research Centre (KAPSARC), a sprawling, multi-building, 500,000sqm micro city in Riyadh, Saudi Arabia.

In keeping with the architecture firm’s signature aesthetic, the complex is remarkable in its form; an irregular, angular, beehive-like structure that stretches across the Saudi desert. Its interlocking, cellular structure includes an office building, conference centre, library, IT centre and place of worship, as well as shaded outdoor spaces, courtyards and gardens, woven together by an open-air central plaza.

Lighting for the expansive complex came from New York’s Office for Visual Interaction (OVI), long-time collaborators with Zaha Hadid Architects (ZHA), having worked with the firm on projects dating back over the past 20 years.

“We have a long history of working with ZHA, and the collaboration is always very creative and interactive,” said OVI. “ZHA values our early lighting design input to incorporate into its designs. For this reason we were involved very early in the competition stage.”

Because of the architecture studio’s unique designs, creating a lighting scheme is not always a straightforward process, with the firm preferring not to issue a specific design brief, instead “setting out points and program parameters”, as OVI explained.

“It is the work of the design team to translate a ‘technical wish list’ of square metres and light levels into something amazing. Knowing the parametric designs of ZHA, a brief is not a fixed catalogue of requirements for them.

“As you look at their work, you will see there is not a ‘one solution fits all’ for any project. The same is true for the lighting design, which becomes a fourth dimension and gives architecture emotion and presence at night.”

With KAPSARC, OVI developed the lighting scheme for both the exterior spaces, and the vast interior. Outside, rather than overall floodlighting, which would not comply with the project’s sustainable design intent and LEED Platinum certification targets, a strategic lighting vocabulary was developed that harnessed the use of internal glow, balanced series of lighting layers and the precise use of contrast and silhouette to articulate the dynamic architectural forms.

As illuminating all sides of the façade would have flattened out the shape’s beauty, OVI instead opted to sculpt the volumes at night to enhance the sharp, angular geometry; Hoffmeister’s Hi-Vertical in-grade linear luminaires are positioned strategically to anchor specific façades, while Erco floodlights are placed out of sightlines within the skylight apertures to emphasise entrance volumes, keeping in mind distant viewing angles and the cohesiveness of the overall design of the complex. In respect of the sculptural effect sought after by the architects, the lighting design ensured no penetrations of the folded façade in any way.

Each building profile of the architectural dune-like forms has a different height and contour; there are no right angles or identical sections, resulting in highly atypical façades. As such, OVI carried out detailed 3D lighting calculations for each condition to determine specific lighting locations.

The lighting design plays a critical role in establishing the project’s night time identity, as OVI explained: “From a birds-eye view, lighting emanates from the centre, radiating out into the landscape. The heart of the complex is the Place of Icon, which glows magically at night. To complement this, it was important to articulate and enhance the angular geometry of the façades to accentuate their faceted form, which could be appreciated from a pedestrian view.”

The various buildings are connected by 10,000sqm of canopies that unify the campus while providing shading by day. Vertical illumination of the interior façades, uplit canopy ‘hoods’ and downlighting create a harmony of light, adding to its landmark status at night.

The buildings and canopies are oriented to work naturally with the sun’s path, providing both light and shade strategically at different times of day. Surrounding buildings shade the central canopies and interior space beneath, while at night, the internal lighting activates the apertures, creating an illuminated centrepiece that anchors the project and provides its visual character.

In the complex’s central courtyards, Hoffmeister’s Hi-Vertical in-grade linear luminaires illuminate the façades, while Erco luminaires highlight columns and provide general illumination, alongside iO Lighting’s linear LED strips, which accentuate the stretched textile canopies. This is complemented by stake-mounted, adjustable lighting in the courtyard planters, provided by iGuzzini’s Woody fixtures.

A lighting masterplan of energy efficient and sustainable solutions throughout the complex, as well as smart design and cooling strategies as an integral part of the design logic, enabled the project to meet LEED Platinum specifications, making it the first of its kind to do so in Saudi Arabia.

This unique, integrated design is energy efficient and balances the quality and brightness of artificial lighting in relation to usage and natural daylight, achieving an uncompromising architectural aesthetic with ambitions environmental credentials.

“We always approach our work in a way that optimises design objectives while meeting all technical and energy requirements,” said OVI. “Achieving this was challenging as technologies were changing from conventional sources to LED at the time, and the client needed to be reassured the ‘new’ technology would be reliable and just as effective as what they were accustomed to.

“It was a lot of extra effort during the design process, but as a result this project was awarded the first LEED Platinum rated building in the region.”

Throughout all interior spaces, the modular design generates consistent organisational logic and spatial strategies that drive all employed lighting elements: full height atria are filled with daylight from central skylights, while at night a skylight perimeter detail of precisely tuned floodlights provide the primary layer of illumination.

Selected vertical surfaces are washed to translate the prismatic notion of the hexagonal character to a comprehensive interior night time identity. Dark finishes of solid architectural railings along general circulation paths, embedded with iO Lighting linear LED handrail luminaires, create a strong visual contrast throughout the light finished spaces for intuitive wayfinding. 

To further infuse the interior experience with the directionality of the architectural system, recessed linear light bands follow the angular contours throughout the interior spaces. On upper levels this linearity visually dissolves into segmented layouts to accommodate the shaped ceiling profiles.

The installation of these linear bands helped in unifying the many different interlocking structures, each with their own specific uses. And for OVI, it was key that the lighting helped to link these different structures. “It was important for the complex to be unified, however, each building has a very different function. For this reason a lighting design language and logic was developed for the project and tailored to each different building.

“For example, reinforcing the cellular geometry was key for the interior lighting. In some buildings with open spaces this meant continuous linear bands that wrap throughout the building, for others we used segmented linear bands to work with smaller scaled spaces, or staggered patterns instead of straight, or pendant vs recessed based on angled ceilings. There are a lot of subtle variations that can happen within a single concept.”

The linear unification of the interiors can be seen in the offices and seminar rooms, which each feature a custom ceiling system of recessed miniature LED bands that incorporate accent lighting, speakers, AV, fire points and many other services in one clean solution, along with Zumtobel’s Supersystem to accent feature walls. 

In offices with raked ceilings, OVI turned to RSL’s pendant-mounted continuous linear luminaires to provide illumination through an ‘all-in-one’ integrated appearance.

As a spiritual centre, the Musalla is a symbolic embodiment of light, and the illumination is a transformative element generating emotion and an experiential journey for worshippers. The interior is characterised by a large, organic structural web. Delicate screen panels fill the openings of each frame, and a serene glow of white light emanates from behind the screens, by use of Philips Color Kinetics’ ColorBlast Powercore fixtures, setting the contemplative tone in the worship hall.

Downlights are precisely aligned with the screen detailing, piercing through to provide sparkle and the required illumination at floor level, with no visible hotspots or shadowing. In addition, based on different times of day, the colour of the lights shifts from white to a soft, golden hue.

While the Musalla was designed without any natural daylight, other areas used the abundance of natural light as an inspiration for the architectural lighting design, in the way that it sculpts the facets and forms of the architectural volumes.

“In this part of the world, natural light also means heat, so it was also important to find creative ways of shielding it,” said OVI. “The Place of Icon in the central part of the building complex is a wonderful example – the surrounding buildings are slightly higher, which helps shade (and cool) the centre. In addition, the scoop-shaped openings are oriented for wind flow and to bring light in and keep light out during different times of day.”

Although the task of working on such an unusual design could have caused some difficulties for OVI, the practice said that, owing to its years of working with ZHA, it is used to working on projects that are out of the ordinary.

“We are accustomed to breaking convention and working with unusual shapes and structures,” OVI explained. “Every project has constraints, but that’s what makes it challenging and ultimately results in a unique, one of a kind solution.

“One of the reasons why we enjoy our collaborations with ZHA is the truly open design dialogue. During our work sessions, architecture and lighting design really develop in parallel and always result in unique solutions that are fully integrated and tailored to the architecture.

“It is always a fascinating journey to work with them to discover a unique architecture and lighting story that emerges.”

In the case of KAPSARC, the collaborative approach resulted in a remarkable architectural achievement, where OVI’s lighting design serves to support and accentuate all of the buildings and their faceted forms and volumes, while elevating the cultural dimension of the project, reflected in the geometric motifs, materials and mesh elements.

OVI said: “This project is a good example of having a very strong fundamental idea that was carried through all design stages. Accordingly, we established a clear lighting design language that responded directly to this design.”

www.oviinc.com

by dbell

Bluewaters Island, Dubai

The Bluewaters Island in Dubai is a new vibrant destination that combines architectural, entertainment and theatrical lighting by neolight. 

Bluewaters is an artificial island along Dubai’s elegant coastline, nestled between the two distinct palm beaches Dubai is so well known for. The iconic destination is also home to the tallest Ferris wheel in the world, the Ain Dubai, along with one of the most famous hotels, Caesars Palace and 200 exclusive shops and restaurants. 

Back in 2014, neolight teamed up with Development Managers Mirage Leisure and Development, to create a lighting scheme suitable for the desired experience. Gary Thornton, Senior Project Designer at neolight, discussed the starting process of the initial designs: “The initial brief for the overall project (not necessarily the lighting), was for the destination to become a ‘world-class entertainment zone’ that encompassed a range of sectors, including two hotels, residential space, retail and entertainment, including the Ain Dubai (completed by others).”

The design approach for neolight was to establish a scheme that created a narrative between the different zones, aesthetics and feelings within the unique island setting. The lighting is used to unite connecting areas but also differentiate spaces across the island, as each zone has a considered lighting theme designed for the use of that space. 

“We’ve worked on large resort-style projects before, but the sheer scale of this project was something that stands out as different for us. Additionally, the range of sectors involved (residential, hotel, retail, souk) meant that the lighting had to link and unify these spaces, whilst providing a differentiation between them all at the same time,” explained Thornton. 

Dynamic and fun lighting was used for the Retail Wharf, creating a vibrant atmosphere, whereas lower level resort-like features were used for the hotel lighting. Key focal points, such as the conference centre entrance, were highlighted using direct and brighter fixtures, to give a red carpet feeling for guests upon entering. 

Thornton added: “As they so often are, timescale and budgets were challenging. Four years sounds like a long time, but the sheer scale of the project meant that managing the size of the all-encompassing project was a huge challenge. 

“There was even more coordination with all other consultants compared to a typical project, and a lot more site supervision and hand-holding with the contractor on site to manage the detailing and integration of light fixtures. We deployed additional staff through our Dubai office in order to manage this.”

Large canopy light structures have become landmark symbols for the island, adding vibrancy to the retail areas. 

“The mushroom-like canopies are a huge structural feature and were a huge coordinated effort between multiple consultants and suppliers to design and implement bespoke items, (including visits, tests and staff from the UK, Paris, Spain and Dubai),” explained Thornton. 

“These had to be a visual feature from across the water to the Bluewaters Island and carefully managed for their size and lighting functionality,” he added. 

Achieving the integration, performance and control of full colour change lighting, gobo projection and sparkle points were also essential factors of the mammoth installation. 

The gobo lighting adds a theatrical element with a hint of colour that softens the hardscapes of the pedestrian avenues that link the hotels. These lighting elements also encouraged the use of pathways, giving them an interesting distinction that distracts from using cars in a normally vehicle-heavy environment. 

Linea Light Group’s Alcor steplights with anti-glare effect were used for these connecting pathways, and its Admiral immersion uplights (with AquaStop anti-suction system technology for the power cables), were used to create the elegant pool lighting, adding to the overall opulence of the space. 

Each of the buildings within the wharf are lit with a unique identity that combines several illumination techniques. However, overall the different lighting schemes work together collectively and coherently. 

Caesars Palace was lit using mostly an ad hoc selection of Linea Light Group’s fixtures to highlight and emphasise its elegant, contemporary architecture. Paseo bars, Portik ceiling lights and Quantum and Warp downlights were installed to bring out details and create evocative night scenes. 

In contrast, the lower level hotel resort spaces are lit with a warmer white light that offers a welcoming respite to the more vibrant and busier retail spaces. Residential areas are softer again, creating a further distinction between uses, with soft washes to the balcony soffits on the façades.

With absolute control of the lighting elements, it was important for the team to ensure the schemes were designed with balance and are as sustainable and energy efficient as possible. 

Unfortunately, due to budget constraints, the team had to cut back on dimming controls for the residential and hotel façades, which halts the ability to shift the intensities throughout the evening and nighttimes. 

“Integration for the architectural lighting was an overall consideration that we strived to achieve at each stage, from the cove and slot details to light fixture containment,” explained Thornton. “There was also the need to use lighting to help to create a distinction between the different areas from residential to retail.

“Lots of decisions on how and why to illuminate aspects of the projects in the way we did were the outcome of coordination meetings, working to help other consultants understand the lit effect we were after and the concealed detail needed to achieve it, as well as conversations with the client and architects about achieving the look and feel for the overall vision of the project,” he added. 

A combination of western lighting principles with Arabic culture creates a vibrant environment that is warm, welcoming, dynamic and exciting to experience. 

“Our final impressions actually exceeded our initial expectations, and the client’s,” reflected Thornton. 

“This was in part thanks to the evolution of the brief compared with the very first concept ideas we discussed, as it became a more entertainment-centric design, which is much more immediately appealing and exciting.

“This project was immensely enjoyable to work on, with the final results showing the rewards of hard work and one that everybody is extremely happy with, from us and the other consultants, through to the developer and client. Off the back of this project we have commenced design on another large project in Dubai, with Mirage Leisure and Development, called The Island, which features three hotels, residential apartments, a multi-purpose venue and large entertainment plaza.” 

www.neolightdesign.com

by dbell