dbell

Havenhuis, Belgium

Zaha Hadid Architects merge old and new together in this juxtaposing creation, with lighting designs by Ingenium and Inverse.

Zaha Hadid Architects have renovated and reimagined the new headquarters for the Antwerp Port Authority, the Havenhuis, with an expressive structure. Positioned above a disused, listed fire station, the multi-facetted façade sparkles with reflections of sunlight and the surrounding water. The new structure is commonly referred to as either a diamond or a ship’s hull and provides a fascinating juxtaposition of modern and historic architecture. The mixtures of glass panelling on the exterior of the structure provides a dynamic nature to the architectural merge, emphasising the contrast between the modern glass and the traditional stone box below.

Renowned creators of exceptional design, Zaha Hadid Architects have not disappointed with this feat of architecture and have seamlessly brought together the old and new in this project, transforming the old fire station into a vibrant new workplace for those in the Antwerp Port Authority. The main lobby area of the headquarters is situated in a central courtyard, which has been covered with a glass roof to create an outdoor/indoor room. The fire truck hall now accommodates the library with the lower floors of the new extension connected to the upper floors of the older building through a seamless communicative core, which also holds space for restaurants, meeting rooms and an auditorium. The highest five floors are home to a varied office landscape for approximately 500 employees. With an array of unconventional office fixtures, such as trapezoid shaped desks, curved stairways and angled pillars, it was important for the lighting to fit in a similar vein.

For the internal lighting scheme, Ingenium were brought onto the project back in 2009 through Zaha Hadid Architects and their Belgian design partners, Bureau Bouwtechniek, who earned their place to provide the main technical concepts via an architectural competition. Ingenium’s Project Manager Joost Verstraete discusses the journey taken to input the lighting design and how the concepts were adapted over time to fit the needs of the clients and the building: “The focus of the lighting scheme was to emphasise the architectural experience but also to stay strong to the client’s desires of creating a comfortable working environment throughout the building, which in turn demanded high technical demands and specs for lighting.” Verstraete explains.

“The main challenge was to find a compromise between the high comfort demands of the landlord on one side, and the architectural/aesthetical wishes of the architect on the other side. These were not always complementary. We solved this by having numerous meeting sessions with both parties, in which both sets of demands eventually grew towards each other.”

Despite these challenges and changes they had to work through during the project, they managed to remain strong with their original lighting design and accomplish the final scheme.

Using a combination of multiple fittings, particularly from Multiline with Tridonic LED components, Ingenium designed a scheme that would be able to adapt to the unconventional interior design of the new extension. There were some limitations and small spaces to work with in some areas, and exposed structural beams revealed in the older sections where certain fittings proved difficult to put in place, for example the lighting lines in the circulation zones. On top of this, the team had to devise a design that would be as clean as possible for the suspended ceiling, i.e. ensuring the lighting lines are integrated seamlessly to make room for other elements such as fire detectors, water sprinklers and movement sensors.

Furthermore, the lighting brief also factored in the support of the outside view of the building at night.

Verstraete continues: “All the lighting elements were chosen for their functions that suited the aesthetical demands by the architects, the technical and comfort demands of the landlord and the energy efficiency features. In the end I think we managed to combine aesthetical and technical demands, and that the lighting works very well to accentuate the architectural experience in the way the architects had in mind at the beginning. The only thing that didn’t work out very well in this project was the length of studies taken to complete the design at the beginning.”

Using Multiline, a Belgian luminaire manufacturer, a special solution was developed to create an easily integrated internal lighting system that is a recognisable analogy for the architecture. Utilising Tridonic’s know-how in LED technology, Multiline adapted one of their standard luminaires to fit specifically into this project as part of Ingenium’s lighting design.

Creating an elegant scheme for the internal offices, Ingenium were keen to highlight the structural elements of the magnificent building, whilst in keeping with the elegance of the building and it’s smooth, clean lines. To emphasise the contouring of the rooms, strip lighting was integrated into the ceiling, creating graphic patterns regularly repeated throughout the space.

Stijn Pittomvils, the project manager for Multiline, describes the process: “We have already been very pleased with the LED modules from Tridonic that we use in our standard products. It was therefore never in doubt that we would also use them for the special luminaires for the Havenhuis.” As with many large-scale projects, it is difficult to organise all contributing participants of the design and building to simultaneously coincide with each other. Once the luminaire manufacturers came on board with this project, the ceiling structures had already been determined, thus requiring a specific profile width of 90mm. In total, there was roughly a kilometre of Multiline strip lights equipped with Tridonic LED components that were installed to accommodate the individual room geometries. Due to the complex internal design of the building, it was essential to find a flexible LED system that has the ability to integrate into the individual specifications.

Furthermore, as with many new builds, it is important to consider the impact of energy usage and how it is possible to reduce consumption levels as much as possible. This was high on the agenda for the lighting in the Havenhuis, so presence and ambient light sensors were installed throughout to ensure the light levels are controlled to suit demand at all times. Run through DALI with LED drivers, the sensors are part of a comprehensive sustainability and energy efficiency concept put in place, which in turn received a ‘Very Good’ BREEAM rating for environmental construction.

Lighting the external façade of this building was left to the capable abilities of Inverse. When discussing the project with Nicola Agresta, Project Manager of Havenhuis, he gave us a detailed look into the journey they went on to create the lighting scheme, “Filip Vermeiren, one the of the Inverse directors who is originally from Antwerp, was asked by Joris Pauwels [Zaha Hadid Project Architect] to provide advice on the lighting layout.”

Inverse was appointed towards the end of the project when the building was near completion, which gave them three months to install and finish their lighting scheme before the official opening deadline on September 22nd, 2016. This proved a major challenge for those at Inverse, limiting several possibilities of integrating lighting. Nevertheless, it did allow them to do extensive testing on an on-site mock up, practicing to create the desired effect on the complicated, irregular glass cladding. Agresta continues: “Since the port authority owns the roads around the harbour and the technical team was very hands on, we had the great opportunity to install lights on lamp posts and shooting over streets. We tested conventional floodlights as well as high-powered narrow beam projectors shooting at the building from a distance to make the multifaceted building sparkle like a mirror ball and mimic the effect of sunlight hitting the building during the day. The mock up gave us a reference point for the brightness the client wanted to achieve, and from there we ran computer simulations to finalise the layout. The mock up also helped to choose which light colour temperature worked best on the building in relation to the surroundings.”

Not only did Inverse have to tackle the limitations of time, they were also widely restricted with their location options for lighting installations, as it was not possible to put any fixtures onto the surface itself, they were merely allowed to use existing street poles surrounding the area. This in itself also proved difficult, as the poles were restricted to holding a certain amount of weight, which reduced the number of lights they could place on each.

The final outcome saw the installation of a combination of fittings from Indelague, Trilux and Zumtobel, to name a few, as well as six Bega floodlights mounted to the roof and 22 on existing poles surrounding the building, resulting in an elegant finish, respectful to the state-of-the-art architecture.

Agresta describes how it took a very different approach to other projects they have worked on in the past: “The process was different, much more intense and with a practical approach. Usually we work on projects that are not built yet and we run calculations, renderings and tests to make sure the final result will achieve specific light levels. For this project, we worked almost in the other direction, starting with a mock up on an existing building to achieve the requested light level and then run the computer simulation to finalise the design. This not only saved us lots of precious time but it was also the perfect approach to convince the client of the correct direction, as a direct visual impression overcomes all renderings and calculation. The client was very hands on and had the power to do things such as mounting lights on street poles, which would normally be very difficult and a long process with a general public authority. For Filip this project was particularly special as it was set in his home town.”

The scale of this project demanded an extreme amount of collaboration; time and effort from everyone involved, from the client, the architect and lighting designers. The final result of lighting this grand structure by Zaha Hadid Architects compliments the detailed construction, bringing it to life in a fantastical way. It is a glimmering beacon of architecture and lighting brilliance that can be seen from afar and will remain as a iconic stamp on the Antwerp landscape.

www.inverselighting.co.uk
www.ingenium.be

by dbell

Plexal Technology Innovation Centre, UK

Located at Here East in Queen Elizabeth Olympic Park, Plexal’s innovation centre has been given a dynamic, modern and flexible new lighting scheme, courtesy of Cundall Light4.

Cundall has delivered MEP and lighting design for Plexal, the 68,000-sqft innovation centre for technology entrepreneurs and enterprises located at Here East within Queen Elizabeth Olympic Park.

Occupying the former broadcast and press centre for the 2012 Olympic Games, Plexal forms part of the London 2012 Olympic Games legacy and is designed to support young and established businesses to work collaboratively as a community in a mini-city.

Inspired by the principles of urban planning, architects Grimshaw developed a design that emulates a cityscape, with mixed-use spaces that lead from a central high street, including public and private spaces, streets, squares and civic areas. Spaces are designed to intersect and weave together, contributing to a sense of community, while each zone has its own distinct identity within the various quarters. The building also comes complete with events spaces, an indoor park and an interactive living wall.

The innovation centre is divided into a ground and first floor layout, where a street mezzanine structure allows open-plan workstation areas to sit above the ground floor’s private offices. Other office spaces are formed using a high-performance ‘kit-of-parts’ Tecno partition system, which can be reconfigured to accommodate expanding and contracting businesses, or to set up new work areas.

The ‘high street’ layout offers a range of quiet and social areas, including Legacy Place, a contemplative place to work, and Monument Square, a bustling entrance for visitors, incorporating high-top flexible hot-desking spaces, a café zone and a 5-metre-high green wall with screens streaming live business data.

Contributing to the wellbeing of Plexal innovators, the centre includes ample community spaces, green areas with indoor planting, and casual environments to wind down or work in a more relaxed atmosphere. Lighting can be programmed to match natural circadian rhythms, and private phone booths dotted along the high street provide respite from the hustle and bustle.

International multi-disciplinary engineering consultancy Cundall previously designed the fit-out of the International Broadcasting Centre, which accommodated more than 10,000 broadcasters, photographers and journalists during the Games. Cundall was selected for the Plexal because of its knowledge of the site and for its data centre development expertise. In occupying the former broadcasting centre, Here East (and Plexal) inherited a data and connectivity infrastructure that is unrivalled in Europe.

Steve Cook, Cundall Building Services Partner, said: “This project has seen a clever reuse of an existing space and system, not only creating a major change in use and additional space, but at the same time retaining the majority of the existing systems for the future benefit of the occupants. The finished Plexal HEIC has great daylight penetration, views to the canal, lots of fresh air for occupants and a visually fantastic lighting scheme.”

The lighting design for Plexal needed to match the dynamic nature of the start-up companies that would occupy the space. The offices needed to incorporate modern technology and inspirational new ideas, creating a space where people want to spend time and innovate.

Ashleigh Dolan, Lighting Designer at Cundall Light4, said: “The lighting needed instant flexibility – a start-up, for instance, may require two people one month and 20 people the next as it grows. Flexibility in lighting design is about two key elements, the ability to move the luminaires to where they are needed and the ability to quickly and easily re-programme the lighting controls.”

Cundall Light4 opted for Trilux desk-mounted task lights as they not only focus light where it is needed, but can be moved with the desk as the company grows and reorganises. To support the flexibility of the lighting, integral Passive Infrared Sensors (PIRs) were also specified.

Cundall Light4 specified Osram DALIeco Swarm adapters for the lighting control. The controls are set up with just a screwdriver to select the zone and luminaire group and means that when a start-up company expands they simply need move a wall, desks and desk lamps with no expensive re-wiring or lighting control re-commissioning costs. Plexal is currently Osram’s largest Swarm installation.

The Trilux desk mounted lights were adapted to integrate the Osram Swarm units, which use radio frequency bi-directional communication between the luminaires, sensors and switches.

“The Trilux luminaires have both the style and light qualities which we required for this project.  The integrated detectors and simple to use and commission controls gives the end users ultimate flexibility,” added Andrew Bissell, Director of Cundall Light4.

Another special solution designed specifically for this project used the highly energy efficient Trilux Arimo fittings. The usually suspended, clean, pure white, slim LED panels have been adapted to attach to the acoustic rafts in the industrial style areas. The result creates a minimalist, abstract floating appearance, while providing a glare and shadow free planar light.

As well as private office spaces, Plexal’s design features civic spaces, a Makers’ Yard (where rehearsals, events and prototyping can take place), an events stage and Plexal Park, a 200-seat capacity multi-purpose events space, all feeding back to the spine of the building and the central installation.

The simple triangular motif throughout represents the coming together of ideas, which strive to inspire its members to create great things. The streetscape is supplemented by a recognisable formal array of lampposts that help to reconnect these internal spaces back to the community beyond. Pocket ‘parklets’ and planters have been softly lit to supplement the central feature lighting and when night falls, the feeling of the space changes dramatically.

In Makers’ Yard, Cundall Light4 has used standard biodynamic flat-panel lights and acoustic panels to create an abstract factory north light. Taking inspiration from the glazed north lights found in traditional warehouses, flat-panel luminaires from Trilux and Fagerhult hang on an angle adjacent to acoustic fibre board to give the impression the ceiling is open to the sky. The solution is well designed to provide the high illumination levels required for the specialised prototyping and making, while giving the room the feeling of spaciousness.

The adaption and modification of the existing open-plan space within the original broadcasting centre to form flexible and modular office accommodation, meeting rooms and conference facilities called on a number of smart engineering solutions from the Cundall Building Services team, as well as collaborative working.

“Everyone wanted different things with different priorities, so Cundall sketched up numerous options with clear graphic representations showing the advantages and disadvantages of each engineering solution,” added Cook. “This allowed all parties to understand and buy into a common consensus.”

www.cundall.com

by dbell

ING Bank, UK

The new interior lighting design for the ING Bank UK London office, designed by Nulty, blends the old and the new, bringing a modern flair, while delicately illuminating the fine art on display.

Nulty has completed the interior lighting design for ING Bank UK London office (ING), delivering a concept that balances the bank’s heritage with its drive for innovation, and blends the delicate illumination of art and craftsmanship with a reference to the vibrancy of today’s modern working practices.

From subtly illuminating the prize pieces of art, to washing light on a flat white, this new office space made use of every architectural lighting design technique in Nulty’s repertoire. The London-based design firm was given a brief to create a lighting scheme that worked seamlessly with the tp bennett-designed interiors, adapting the latest in lighting technology to illuminate the quality of materials while complementing the natural light that floods through the expansive glass frontages of the client areas.

An integral aspect to the lighting concept was to deliver a scheme that carefully balanced the illumination of the impressive pieces of art with precise conservation requirements.

In order to get this just right, Nulty collaborated with ING’s art curator, delivering an in-depth study on the impact of natural light ingress and light quality on the different potential hanging areas.

With the intention to regularly rotate the pieces on display, Nulty applied its expertise of gallery design to perform a daylight analysis study, monitoring fluctuations in the direction and levels of daylight throughout the office space across all four seasons, as well as at different times of the day. The findings enabled Nulty to help ING identify the best positioning of the artwork to align the most appropriate pieces to specific display areas.

An important part of the lighting scheme on this project was to deliver an integrated system using methods in harmony with the clean lines and high quality of the client-facing spaces. To do this, Nulty installed XAL’s Move It magnetic track system, adapting it to encompass four different lighting capabilities, creating flexibility and a vessel where a variety of light sources could be used across the space.

The discreet magnetic system has minimum visual impact and provides the four key layers of the lighting scheme: down lighting, ambient light, wall washing light and spotlighting. The individual spotlights are magnetic and can be repositioned to provide different variations of light, which can be perfectly matched to enhance the art and provide ambient illumination to the surroundings.

A challenge for the Nulty team was to create a sense of cohesion across the client, reception and break-out areas, all of which have their own identity. On entering the reception area, a large suspended luminaire consisting of interconnected rings, constructed from Optelma’s Quad continuous linear profile draws the eye through the expansive area, the permeability of the pendent enabling an uninterrupted view of the surroundings.

As the lift doors open on the fifth floor to reveal the entrance to the Zest café, the craftsmanship of the solid-wooden slatted wall design is enhanced by illuminated Linea Light Group strips embedded within the grooves; an engaging contrast between a traditional sense of craftsmanship and materials and bright illumination.

It is within the café that Nulty teamed up with its sister company, Nulty Bespoke, to create one-of-a-kind pendant luminaires. Positioned above the canteen tables, the personalised pendants provide intimacy for diners and the use of company colours in the design reinforces the ING brand to visitors.

Phil Copland, senior lighting designer at Nulty, said: “Working closely with tp bennett and the client, we have designed an energy efficient and visually stimulating lighting solution.

“The variations of light enabled us to create different identities for different areas and the result is an integrated lighting concept that is at the same time subtle, yet stimulating. It also creates a sense of cohesion across all floors and reinforces the ING brand character, delivering a London office that, alongside the interior design, creates atmosphere and engagement from employees, clients, partners and those who visit.”

www.nultylighting.co.uk

by dbell

Wiley Publishing, USA

New York-based One Lux Studio has created a lighting scheme for the newly renovated headquarters of Wiley Publishing, utilising both direct and indirect light to open up and revitalise the formerly dark, enclosed space.

Wiley Publishing, formerly John Wiley & Sons, has been in operation for more than 200 years, since its inception as a small printing shop in lower Manhattan in 1807. The family-run firm, now into its seventh generation, has constantly evolved over its 210-year tenure, from letterpress pamphlets to digital apps and interactive online learning tools, and now this evolution has extended to its workplace, following a renovation of its company headquarters.

Located in Hoboken, New Jersey, with beautiful views of the Hudson River and Manhattan beyond, the interior renovation has transformed the offices into sophisticated, open workspaces, while the large windows fill the space with natural light.

Working alongside architects TPG Architecture, Manhattan-based One Lux Studio designed the lighting for the newly renovated headquarters, providing new solutions not only for the office space, but for public areas also, including the ‘collaboration lounge’, elevator lobbies and cafeteria.

Using a blend of decorative and architectural fixtures, the new lighting scheme utilises both direct and indirect fixtures following the workstations, while linear indirect uplighting at the core highlights the edges of the space. The public areas incorporate more playful lighting elements, with zig zags, angular and organic patterns of lighting blending with the ceiling system, revitalising the space.

Stephen Margulies, founding partner of One Lux Studio explained how the new scheme helped to transform the offices post-renovation. “The existing space had enclosed perimeter offices, which affected daylight penetration,” he said. “The interior open plan areas were dark, vast areas with tedious grids of 2x2-foot fluorescent troffers with little definition or interest.”

The goal for One Lux Studio, therefore, was to develop a lighting system that took advantage of the new open plan concepts. However, Margulies was concerned that, in doing so, they’d end up with large, open areas with “monotonous” lighting solutions.

“Careful attention was placed on creating interesting arrival and circulation design solutions, and the workstation areas had a ‘neighbourhood’ approach where the light fixtures are related to the workstation zones, creating brighter zones at the workstations and darker zones in the circulation areas. We created spaces that were intimate within a vast floor plan,” he explained.

“Additionally, a large format, 4x4-foot ceiling tile was used for the workplace. This, in conjunction with the indirect lighting components, created a unique solution.”

The use of indirect uplighting throughout the project circulation areas, provided by EcoSense, adds an interesting dynamic to the space not normally seen in office environments, and Margulies explained why One Lux Studio made this decision: “The ceiling heights were pretty restrictive,” he said. “Acoustic tile ceilings needed to be at eight foot, ten inches to conceal major mechanical systems.

“Large open spaces with this ceiling height can feel compressed, so the concept of using a direct/indirect lighting solution for the workplace proved to enhance the volume of the space.” Major circulation areas made use of exposed ceilings, adding an element of ‘rawness’, while also enhancing the spaces by providing even greater volume and variety. Elsewhere, a patterned ceiling effect in the elevator lobby, and lowered, zig zag panels in communal areas bring a sense of playfulness, further differentiating the various spaces.

However, while the ceiling proved restrictive in some areas, there were other occasions where the lighting team were able to elevate them higher, further enhancing the new, open feel of the headquarters.

“The existing mechanical systems were kept in place, which created a few challenges for some areas,” explained Margulies. “Since the workplace lighting hung below the ceiling we avoided many conflicts, and allowed the ceiling to be as high as physically possible.

“There were a few surprises when the existing ceilings were removed; however, recessed lighting equipment that only required 3.5-inches of recess depth avoided most conflicts. This coordination became most important in the amenity spaces like the conference centre and food service areas, where ceiling heights were pushed even higher to enhance the user experience.”

As with most projects, budget proved to be a big driver for One Lux Studio, but Margulies and his team found that their approach – particularly the blend of direct and indirect lighting – used very few light fixtures when compared to traditional open office lighting solutions. However, by referencing other projects where similar solutions were successfully implemented and carrying out tests to prove the concepts, they were successful in getting these solutions in place.

The end result for Wiley Publishing’s new headquarters is a bright, airy, interesting workspace, awakening an office that had previously felt dark and vast, underutilising the space available. Margulies was delighted with how the project has turned out, praising the work of TPG Architecture.

“The architect has created a new, unique experience for the Wiley employees,” he said. “As the space was recreated in an existing office building, the comparisons were immediate.

“Daylight and fantastic views of the Hudson River were magically awakened. Large, tedious spaces were transformed into ‘musical experiences’, having the beat change as one walks through the space.”

www.oneluxstudio.com

by dbell

Executive Office Building, Russia

LAPD has provided a full lighting design for an executive office tower in Moscow, transforming the building into a beacon in the cityscape of the Russian capital.

LAPD Lighting Design worked on the interior, façade and landscaped areas of this executive office tower in Moscow.

The approach to the façade lighting was to create a cage of light around the building itself, connecting the top and the bottom of the building. The client wanted the building to have visibility from afar and so the entire top element was transformed into a beacon-like lantern with prominence within the Moscow cityscape.

Cool white linear LED lighting with a carefully selected beam width was used to light down glass fins cladding the building top. Various test were carried out on different types of glass and different LED optics to ensure that the fins held the light as much as possible all the way down their length and lit the entire volume.

Clear glass with a frosted interlayer produced the best effect and the best structural performance. Eight linear lines of light then ran down the building, highlighting architectural details around the façade and connecting the lantern top with the base of the building. Cool white light was used to connect the cool white lantern with the cool white lighting around the building base, forming the cage-like structure.

The linear LEDs from Insta were colour controllable and, on the client’s request, the lines of light that framed the two-coloured expanses of façade were adjusted to match the vivid glazing colours that were chosen.

A control system was specified to enable these lines of light to chase, pulse, change colour and create different effects for special events.

Grounding the ‘cage of light’ was achieved by highlighting all the columns around the base of the building, along with the entrance canopy itself, with a matching cool white light. The columns were treated as architectural elements by using a linear light source concealed in a detail above the column. Again, using appropriate optics a sheet of light was created travelling down each column. This avoided downlights visually scarring the canopy above and creating unwanted scallops detracting from the pure forms.

The canopy needed to echo the experience of the building from afar. As a result a frosted glass canopy was created that was backlit using cool white LEDs. This created a similar level of impact at low level to that created by the lantern from afar.

These architectural lighting treatments around the base of the building balanced the strong lantern effect of the building top but also contributed to the landscaping lighting.

General illumination to the entrance area and car parking areas around the building was provided by using a lighting column from the Hess City Elements range. These provided a neutral cylindrical form against which the building could be viewed without conflict from feature elements. The columns allowed asymmetric, symmetric and road optics to be used from a column without a change in its appearance. A warm, soft level of light was produced with low glare.

Feature lighting was provided to the furniture elements around the buildings, while linear hidden lines of light were integrated into the furniture in collaboration with the manufacturer to create a soft warm glow under each seating area. Feature lighting was also provided to uplight the trees themselves. These uplights were raised above floor level slightly to ensure they still functioned during winter months where a carpet of snow resides across the landscaped areas. As with all of the exterior lighting products specified, they needed to be able to operate at temperatures down to -40-degrees Celsius. Again, a soft warm colour temperature was used to harmonise with the lighting elsewhere around the building base, and to contrast with the cool colour temperature on the façade.

Lines of staggered light mimicking those running down the façade were recessed into the ground to lead occupants from the roadside right up to the building canopy.

Once inside the building these strong linear lines of light flip up onto the ceiling of the reception area to continue the draw into the building. Four continuous lines of light from XAL were used to draw the eye towards the feature wall at the end of the reception space.

This feature wall was created by using continuous linear LEDs with a six-degree optic to graze light up the back wall, which consisted of a suspended horizontal, linear mesh. The front of the wall was constructed from cast, layered glass orientated horizontally. The resulting moiré pattern effect between the backlit mesh and the front layered glass was an intriguing shimmer that continually changed as the viewing angle changed.

Lines of light were also used within each lift lobby, continuing the theme throughout the building. These lines were framed within floating rafts that were covelit along all sides.

The developer moved into the tenth floor and appointed LAPD to illuminate all of their office spaces. Lines of light illuminated the naked concrete surfaces and Italian wooden walls in the reception, waiting and circulation spaces. Square downlights from XAL are also used to provide accent in key places.

Meeting rooms and smaller office spaces use a combination of linear and accent lighting within troughs from Kreon. This allows control to provide bright, uniform levels of light for meetings and low levels of accent light for presentations, along with options for variations between the two. The linear and accent lighting was designed to match in colour temperature.

Open plan office areas are illuminated by suspending Zumtobel Aero luminaires to achieve the desired illuminance levels on the desks and on the ceiling itself.

There was also a strategy written up by LAPD to ensure that tenants within other floors lit their offices in such a way that the building had a homogenous look at night from outside. This included requirements to conform to different orientations of lighting in different areas but still provide flexibility within their design. The strategy included a decorative treatment to all interior columns for all floors.t

www.lapd.uk

by dbell