Rachel Gibney promoted to Principal by Available Light
Available Light has announced the promotion of Rachel Gibney to Principal.
“Rachel has been instrumental to the growth of Available Light from designing world-class projects and running our Core Design Process Committee to opening and managing our Phoenix Studio,” said Steven Rosen, Founder and President. “Over time, she has deeply absorbed and contributed to our aesthetic, culture, and design process. At the same time, her desire to enhance our team’s technical skills—generating computer daylighting studies, developing virtual real-time 3D presentations, studying the effects of light on humans, and more—has made Rachel a real boon to the firm. From higher-ed STEM complexes to museums, Rachel uses light to tell meaningful and compelling stories with lasting impact. Rachel’s design skills and collaborative spirit are of great benefit to our clients.”
Gibney joined the firm as an intern in 2013 and steadily progressed through the ranks from Junior Associate to Associate, before opening the Phoenix Studio in 2022, where she served as Associate Principal. Prior to joining Available Light, Gibney began her career as a theatrical lighting designer in Arizona. Today, she remains passionate about using theatrical design techniques to create memorable moments for both museum and architectural projects. She approaches her work with the belief that “lighting design is the art of storytelling through an audience’s subconscious observations”.
Her talents have been instrumental to the success of many award-winning museum and architectural projects, including the University of Connecticut Science 1 Research Center and the Penn State University College of Engineering Research & Teaching Space (West 2).
Gibney holds a BFA from the University of Arizona and an MBA from Southern New Hampshire University. An industry leader, she is an Allied member of the AIA, serves on the IES Phoenix section board, and contributes to two IES standards committees. She is an educator in the Master of Interior Architecture (MIA) program at ASU’s The Design School. Previously, she served as an adjunct faculty member at the University of North Carolina School of the Arts and the Studio School of Design.
Organic Lighting - FortaCast
Organic Lighting’s FortaCast is a floodproof drive-over inground fixture made of low-carbon, precast polymer concrete. It simplifies the traditionally costly and complex installation of inground lighting. Uniquely, FortaCast offers customisable designs, including curves, circles, squares, intersections and logos, alongside long, continuous light lines. Its innovative engineering and patented design allow up to 15-metres of encapsulated LED to slide in from a single point, making maintenance as simple as changing a lightbulb.
Organic Lighting will be exhibiting at LiGHT 24, find them at stand U36.
Lichtkompetenz founder, Joerg Krewinkel, dies
(Switzerland) – Joerg Krewinkel, founder of Lichtkompetenz, has died, the studio has announced.
In a post on LinkedIn, the practice issued a statement that read: “It is with deep sadness that we share the passing of our founder, Joerg Krewinkel. Joerg was a visionary leader whose passion and dedication shaped Lichtkompetenz.
“Joerg built not just a company, but a whole community. His impact on the lighting design industry and all of us personally is immeasurable. We will always remember his commitment to creativity, excellence, and innovation.
“Our thoughts and prayers are with Joerg’s family during this difficult time. As we move forward, we will honour his legacy by continuing to pursue the vision that he held so dearly.
“Lichtkompetenz would not be what it is today without Joerg. We will forever be grateful for his leadership and inspiration.
“Rest in peace, Joerg. You will be greatly missed.”
Krewinkel started working in lighting in 1988 with Staff Leuchten, which was later taken over from Zumtobel and merged to Zumtobel Staff. He moved to Switzerland in 1996, working in marketing and sales for several years in Zurich.
In 2002, he established his own firm, Lichtkompetenz, out of Zurich. His international network saw him work on projects around the world – from Switzerland, across Europe, Asia and the Middle East, and also saw the establishment of three further branches in Sofia, Bulgaria, Hong Kong, and Los Angeles.
Specialising in retail, hospitality, and luxury residential projects, Lichtkompetenz as a studio stands for visionary solutions that shine economically and ecologically for a long time.
The [d]arc media team passes on its condolences to Joerg’s family, and to the Lichtkompetenz team.
Ideolux - Pro Chain Graze
Introducing the Pro Chain Graze: a unique modular linear LED wall grazer that delivers unparalleled flexibility. This innovative design can be adjusted or curved to meet various positioning needs, making it ideal for accentuating curved or irregular façades and coves. With customisable control every 300mm (one pixel), it ensures precision in crafting a stunning graze effect, elegantly illuminating architectural outlines.
Eleftheria Deko
As the international lighting design community continues to grow, we have over the years seen the emergence of some thriving scenes – regions or nations where the profession is progressing at a rapid rate, producing a strong collection of designers. One such region is in Greece, where the balmy climate and beautiful, classic architecture has inspired many to take up lighting design. However, it wasn’t always this way.
“If you are a pioneer, you scratch your feet, because there is no path. And there was no path in Greece back then for me.”
So says the acclaimed, multi-[d]arc award winning Eleftheria Deko, who led the way in bringing lighting design, as a recognised profession, to Greece, crafting an extensive portfolio of work that spans the stage, artistic installations, and architectural lighting design since the early 90s.
Her introduction to lighting design, as with many designers around the world, was through the theatre. However, in the very early days, she was in front of the lights, rather than behind them.
“My background was in dance, I was dancing from five years old,” she recalls. “I love dance, it’s a unique way of artistic expression. I grew up in the dance world, thinking that I would become a dancer, a choreographer.
“But I was always fascinated by the backstage, and the magic of lighting, even the fixtures themselves, and the “blinding” effect of the light – when you are on stage, you are bathed with light. This feeling helped also my shyness as I was nervous on stage, and with the front spotlights, I couldn’t see the audience directly, which helped my stage anxiety. So, my first reaction to lighting was being the subject of it, and dancing with it.”
This love of dance was combined with a growing interest in photography when, on her 12th birthday, Deko was given a camera by her father.
“It was a new world for me to see things in frame, and very carefully to choose the framing. If I look back at some of these first photographs, it is very interesting to see that I liked to shoot shadows and shades of buildings. As a lighting designer now I like the playful duet of light and shadow. My moto is: music without pauses is unbearable, so is lighting without darkness’.”
The final thing that Deko feels influenced her “on a subconscious level”, was her hometown. “I come from a Cycladic Island, and the light there is very ‘crispy’. I don’t know the word in English, but to me, it is something that you can touch; you can even munch the light. Its reflections, the shadows, the hues of sunlight on Cycladic nature and the traditional architecture, for me, it is magical. As a child, I was playing in the fields of Tinos Island, and I remember the shadow ‘painting’ on the sand and the reflections of the beautiful shiny stone that this island is known for.
“These, together with my love and studies in Art History influenced the way that I see light, and how deeply inside me these things have been absorbed, in a way they come out afterwards. But I never thought of lighting design as a profession.”
And so, after graduating from the school of Philosophy in Athens and having a diploma as a dance professor, Deko packed her bags and left for New York, where she first studied performance – chorography at New York University. But even here, lighting had already begun to take hold.
“On the Master’s programme, there was an elective module on lighting design. This was the first that I took – before dance, before anything, the first module I enrolled in was lighting design. This was because I wanted to do the lighting for my choreographies, I didn’t know then that this first urge meant to bring me to my life’s vocation.”
So impressed was she by lighting, that Deko started a two-year programme on lighting design at Alwin Nikolais school alongside her Master’s degree, and was asked by the course leader to do her thesis on lighting. She adds: “Although I was there for dance, everything was lighting design. If I was asked if I, myself, made the decision to change to lighting design, I would say that life made the decision for me.”
With further encouragement from the university faculty, Deko landed more lighting roles with dance companies in New York, including the Blue Mercury co. from the Alvin Ailey American Dance Theater – an intense experience, as Deko recalls. “Blue Mercury came to give a performance at NYU theater and our professor at the time was getting married and moving to California. The chairman, instead of hiring someone else, trusted me, and asked if I would do the lighting, and without a second thought I said ‘yes, of course, it’s a professional dance company’. I had no money to pay for technical crew, so I had to hang and focus 180 lights all by myself, working from 7am until 4am the next morning for a week, going home to shower, and take a one hour power nap. But I did it, and I did it well.”
The following year, Deko was asked to teach at NYU – a testament to her work lighting the performances – and started doing lighting for other dance companies that were graduating from the university. “I was very good and quick because as a dancer I knew very well how to write the lighting cue notes, and so on.”
She then landed a role as Technical Director and in-house lighting designer at the highly reputed HT Chen and Dancers company. However, a change in personal circumstances meant that in the early 90s, Deko moved back to Greece, where she found herself caught in a strange sense of limbo. “It was very strange for me coming back to Greece, because people didn’t trust me as a lighting designer, but they didn’t approach me as a dancer either, but by then, I was a lighting designer, not a dancer anymore.”
In fact, Deko’s first jobs back on home soil came through connections that she had made in New York, when a US-based company asked her to work on a performance for the Summer Festival of Modern Dance in Crete. This, however, was the spark that lit the flame, with Deko fast building her reputation in the stage lighting world and working steadily throughout the 90s, eventually leading to her establishing her own practice, Eleftheria Deko & Associates, in 2001, just as a major opportunity came calling – the Olympic Games Athens 2004.
“I was approached by the director of the opening ceremony, and he asked me to be a part of the creative team that was realising the scenario that he had in his mind, and he asked me if I would like to do the lighting as well. My first thought was positive, although it was a huge show! At the time, the ceremony’s scenario was broken down into four sections, and I thought of having four lighting designers – one for each section, each with their own style.
“I wanted to bring in Luc Lafortune, lighting designer of Cirque du Soleil, [television lighting designer] Robert Dickinson, Durham Marenghi, and myself. In the end, it came down to myself and Robert Dickinson, as at the time, he had the experience of working on big events like this, he did the Atlanta Olympic Games, and also working with television cameras. This was another important factor to consider – the lighting might have looked good for the eyes in the stadium, but it had to look good for television as well, for the 5 billion TV audience. Especially with the cameras at the time, as they were not digital yet; you had to sacrifice either your warm colour hues of reds, oranges, yellows, or sacrifice the cooler colour hues of blue, turquoise, etc. We gave priority to the blues because of the Aegean Sea and the Greek sky.”
While Deko was working prolifically in theatres across Greece prior to the Olympic Games (by 2002, she had done 350 shows), she had also started to show an interest in the architectural field, visiting trade shows such as Lightfair in the US, Euroluce, and Light+Building, to see how the two worlds were coalescing.
“I always liked interior design, and I was going to these trade shows for inspiration for theatrical lighting, but also to see the architectural lighting evolution. I was very lucky, because it was the period that theatrical stage lighting and architectural lighting were starting to shake hands, LEDs were just appearing and shaping the beam, colour, were making their presence in architectural fixtures.
“I remember looking at a new outdoor fixture of iGuzzini that was shaping the beam, with a strong lens and shutters, and I liked how architecture was starting to borrow elements from the theatre. DMX and smart dimming were also emerging in the architectural world, and these were things that I knew very well, they were my tools in creating scenes in theatre.”
Deko recalls one of her early ventures into architectural lighting, when she was approached by a hotelier in northern Athens to create “something more theatrical” for the hotel lobby – a project that further springboarded her into the architectural sphere.
“When I was asked to do the lobby, I created a nice atmosphere by using lights from outside coming through the windows where we had to customise the fixtures to avoid glare. Everybody was fascinated, and following this, I was asked to do the showroom of a furniture store, then iGuzzini’s distributors in Greece approached me to teach my concept behind lighting design in theatre, in order to give to designers inspiration to think of lighting in a different way. Sharing is so inspiring for both sides and to me, it is very boring to do the same thing repetitively.
“From working in performing arts lighting, I knew the interesting things you could do with shaping, colour, dimming; these elements could give a different atmosphere, a different touch than a beautiful chandelier in the middle of a room.
“I always thought that the power of lighting is not only to make things visible or being comfortable in sight; the power of lighting is more. It can create magic. We knew it very well in stage lighting, so I thought ‘why not in architectural lighting as well?’”
As more architectural lighting projects came to Deko, so did more teaching opportunities. After her work on the Olympic Games, she was approached by the theatre department at Aristotle University of Thessaloniki’s School of Fine Arts. As a faculty member she taught stage lighting for 14 years (2005-2019), and considers her time teaching the next generation here as “one of my greatest achievements”.
“I also taught lighting in the architectural department of the Open University for two years. I hope I have influenced the new generation of lighting designers to go beyond what they already know, to go beyond what is given to them and create the need for new lighting fixtures, new ways of control, but more, the new philosophy, new thinking of lighting and its impact.”
One of the core facets of her teaching was what she calls the “Seven Notes of Lighting”, seven qualities that are the same across stage and architectural lighting. These include: intensity, direction, diffusion, colour, rhythm and movement, shaping, and light objects. “Like in music, with seven notes, you can create endless music and songs, so too with the combination of these seven elements, you can create endless lighting cues for architecture or for stage.”
Indeed, these seven tenets form a key part of Deko’s design approach, however before even considering these, she takes a broader view, tries to empty her preconceptions, her mind, and look anew at every project and how lighting can “create a dialogue” with the space or building.
“I believe that the architecture is the protagonist, and lighting should accommodate, highlight it. Lighting should not impose, it should respect architecture and highlight its elements. It’s the same in theatre. A lighting designer should not show off and add more than necessary just for the image, they should always decide with respect to the architecture or to the play, and with measure.
“What I start from is the play, if it is stage lighting, or the building itself in architecture. I let the building or scenography speak; some are more photogenic, some are not – and these make the work of a lighting designer more difficult – but I think respect, observation, simplicity, and a less-is-more approach is best to start with. Together with the team, we brainstorm on ideas until we come up with something that is fulfilling to our minds, then we apply the seven elements, right position for direction, intensity, colour temperature, diffusion etc. and we develop the design. This way, projects do not look like each other, and the lighting is created specifically for each project, not ‘to our style’. When the lighting of a building has such mentality behind it, it breathes beautifully at night.”
However, by taking a more “restrained” approach and focusing only on what is needed, rather than adding more than necessary, Deko adds that she can sometimes get into conflicts with clients, leading to some difficult decisions.
“If there is something that the client wants, and if it is in contrast with our philosophy, what I call our ‘ethics of aesthetics’, if it is fighting with our principles, I just ask the client to consider again if they want our studio to do the design. I’m very polite and honest, and I respect the desire of the clients, but if it’s opposite to our principles, we don’t want to continue on undertaking that collaboration.”
Difficult conversations to have with clients, but this is something that Deko is no stranger to, having had to fight for a seat at the table when she first started out in lighting design.
She discusses the battles that came with being the only woman in a male-dominated field: “When I came back to Greece in 1992, there were only male electricians and directors of photography. I had to behave in a certain way, dress in a certain way, and in the beginning, I wasn’t respected as a lighting designer, they were saying ‘this young girl will not tell us what to do’. There was a moment when the electricians told to the artistic director of the national theatre, ‘if you bring her here to do the lighting, we will go on strike’.
“Another time they came to me and said, ‘I cannot pay you as a lighting designer, but if you pretend to be the assistant of the set designer, I could’. I had to say ‘I’m sorry, I am a lighting designer. I can help the set designer and the director, with no payment, but I will not sign as a different person than I am’.
“There were many difficult moments – I often got called a male name, not my name – but what brought me through is my humour. I would walk into the theatre and say to the guys, ‘good morning, ladies!’ And soon the ice broke.’
“I never stopped, nothing put me down. I said, ‘it’s their problem not mine’. My passion is my work. I do my best, and I always treat everybody with respect and a smile, in the theatre, on the construction site, I have the same respect for the owner, the architect, the electrician, the person who cleans the floor. For me, this is a very important.
Very soon I gained respect from all, both men and women in both fields. Today there are more women lighting designers in Greece than men. This is a kind of revenge.”
Indeed, the level of work that Deko has consistently produced throughout her career, including not just the Olympic Games opening ceremony, but the incredible lighting of one of Greece’s most important landmarks, the Acropolis, has seen her gain worldwide recognition, especially from the design community – she has four [d]arc awards to her name, including three in one year for the Acropolis project. It is this recognition, that she feels holds most weight.
“With the Olympic Games and the Acropolis, I feel very blessed, and very lucky, to have two of these globally recognised projects in one lifetime – I can retire now.
“If you are the first who did something, you have nobody to share what you have gone through. You stay with it, keep it inside and you move on to the next day. To have this recognition from colleagues, it is very moving. It is like an embrace from your artistic family, your professional family. It is important to get recognition from your clients, of course, but the recognition of people who know the work is really beautiful and uplifting.”
Across her many accolades though, Deko has always remained humble, treating each award as recognition for her home country. “The first international award that my team and I received was the Emmy for the Opening Ceremony of 2004 Olympics. I was honoured to give the acceptance speech, and for me, this award was a moment that was for all of Greece. It was not me holding it, it was all Greeks. It was also elevating the level of Greek lighting design.
“Every achievement, if it’s an award, praise, recognition anything, it’s not for the individual, otherwise it becomes egoistic. It is for the team. I am who I am because of my team. I got here because of my parents, my teachers, my colleagues, my path, so these trophies award everybody’s efforts.”
As for the “next day”, Deko is showing no signs of slowing down. Although she admits that she feels very “fulfilled”, there is still a “flame and a passion about good lighting” that burns bright inside her.
As a studio, Eleftheria Deko & Associates has a broad array of projects currently in the works – many of which following a similar theme to her award-winning work on the Acropolis, which taps into her ongoing fascination with Ancient Greek history and culture. “The inauguration of the Temple of Poseidon in Sounion took place in September. We are also working on the Temple of the Goddess Aphaia in Aegina. These temples, along with the Acropolis, if you place their precise location on a map, create a perfect isosceles triangle – the Ancient Greek metaphysics is amazing to me, I wonder how they managed to choose these locations 2,500 years ago.
“One of my great passions for lighting is heritage, museums and ancient monuments. With these projects I go back to school again.”
“In school I liked ancient Greek history and philosophy very much. My godfather was one the most famous archaeologists in Greece, and because of our close relation, everybody thought that I would become a scientist, an archaeologist just like him. But I was more artistic as a person, although he still inspired me with his wisdom. “Hopefully another two monuments will have been completed by the end of 2025 – one is the Dikteon Cave in Crete, which in mythology was the birthplace of Zeus, and the other is the fortress of Acrocorinth at the ancient city of Corinth, as well as the new archaeological museum of Cyprus.”
And Deko is hopeful that she can continue to be an inspiration for the younger generation of designers emerging in the industry. While she may have left her former teaching roles, she has other plans in mind that she hopes will inspire.
“Not that I feel old, but when we grow older, we have to give space to new people, younger people to express themselves – I’m trying to give more opportunities to the younger people on my team.
“I also feel the time has come to write. I would like to write a book, not about my technique on lighting, but about my philosophy and approach, as if it might inspire someone. By writing it down, I can take the big message and focus it down on pages.”
As for the future of lighting design, Deko has high expectations for where the profession will go, and how it will be perceived by the wider design sphere.
“I think that lighting design is becoming a very, very attractive profession. Lighting designers have the tools and the power to create magic, and I think we are entering the great era of lighting design. Obviously working together with architects and interior designers, but I think lighting design will be recognised for the impact it has independently. Lighting is evolving very fast in a fascinating way!
“In Greece we have an expression, ‘Pan Metron Ariston’, which means ‘everything in measure is perfect’. So, I think in this new era of lighting, with all this speedy evolution in technology, we should let the Greek proverb about measure be our guide.”
An in-depth report on Deko’s work on the Acropolis can be found in arc 119, or you can read the full article here.
At-Turaif, Saudi Arabia
The UNESCO World Heritage site of At-Turaif has been given a sympathetic lighting scheme from Speirs Major Light Architecture, that magically transports visitors back in time to the 15th century.
In the desert to the northwest of Riyadh, on a raised site at the edge of the ad-Dir’iyah oasis, lies At-Turaif – an ancient, labyrinthian city that dates back to the 15th century.
Regarded as one of the more important political and historical sites in Saudi Arabia, At-Turaif represents the “capital of Saudi dynasty”, was the original home of the Saudi royal family, and the country’s first capital from 1727 until Ottoman control of the area in the mid-1800s.
Now, the historical district, characterised by its Najdi architectural style, is a UNESCO World Heritage site, and has been subject to an extensive restoration programme that aims to transform the space into an open museum, showcasing its rich history.
As part of this ongoing restoration, Speirs Major Light Architecture (SMLA) was brought into the project, with the goal of bringing the epic scale and historical significance of the district to life after dark through a beautifully layered and nuanced tapestry of golden light.
Through a rich, amber, “apricot” light, the lighting designers hoped to articulate the stories hidden in the layers of buildings, courtyards, and architectural remnants across the near 10,000sqm site, capturing and reflecting the site’s extraordinary spirit, and creating a remarkable experience of a living national monument.
Speaking to arc, Keith Bradshaw, CEO and Senior Partner at SMLA, reflects on the unique atmosphere of the space: “We’ve never done anything quite like this before, because it isn’t just a building, it’s a small city. The story of the place is one of its most poignant aspects, because in and of itself, it is a ruin, but as with most ruins, there is a mythology and a certain spirit to the place. It is a site that is potent with atmosphere.
“As a piece of architecture, and as a place, it is imbued with something – not to compare it to Stonehenge, but it has that kind of spiritual energy, and because of that it is precious. The opportunity to create the after-dark experience of such a special and significant site is a rare honour. As a practice, we have been fortunate enough to work on several exceptional sites, including the Sheikh Zayed Grand Mosque in Abu Dhabi, and the Dom Tower in Utrecht. Our learning from those projects helped to inform our approach at At-Turaif. We are fascinated by the stories and memories that live within these unique places, and how we can use light as a narrative tool to draw them out, creating a meaningful connection between people, place, and architecture.”
Bringing the stories and historical significance of the site to life was a central focus of SMLA’s “thought piece” for At-Turaif – a narrative document that delved into the overall concept of the lighting scheme, requested by the Diriyah Company, the project client.
“We started by thinking about the way that light could amplify the story of the place, as much as we understood at that early stage, how we could bring this remnant of a civilisation back to life. We wanted to use light to show the spirit of what was there.”
While Bradshaw and the SMLA team understood the history of the site from the outset, it wasn’t until they walked among the ancient walls of the city that they began to fully appreciate the significance and regard with which the Saudi people held At-Turaif.
“What really brought it to life for me was when we walked around the site with a few of the tour guides, who told us the stories of what would have happened on various sites, the economy of the city, and how it worked. As with most heritage projects, the more you can understand or empathise with the people that lived there and how it operated, the more inspiring it becomes.
“We could see that it really meant a lot to the Saudi people too. By talking to them, we got a sense for how significant a project it was for them.”
Coupled with the strong cultural weight of the project, the client also had some very stringent expectations for the lighting design. To meet these, SMLA created an incredibly detailed plan of the site, using a LIDAR scan of the city, into which the team added the various textures, tones and shadows.
Bradshaw continues: “It was a very sophisticated visualisation, way beyond anything that we had done before. Once we had this pure, three-dimensional, textured model of the project, we could set the viewing angles exactly as the client wanted and show them how it would look up close, from two-kilometres away, five-kilometres away, and so on. It was an amazingly detailed concept.
“Our job then, beyond the concept, was to bring that into being with real light, real tones, real textures. We created a scheme where, from these distances, the elevations look amazing, but also, when you’re actually in the place, walking the streets, you become really immersed in it. It becomes this timeless space that feels as it did 500 years ago.
“You can create amazing images with light – subtle layering between one surface and the next. When you are looking at is effectively 20, 30, or 40 façades together, you have to find a balance, and so much of this project was about finding the appropriate three-dimensional balance.
“It was very challenging to ensure that what looks beautiful from afar, also feels beautiful when you are there. That when you are walking down those streets you feel the magic of the space.”
The rough materiality of the handmade, mud-brick walls throughout the city contributes a great deal to the ambience. Described by Bradshaw as a “gift” to graze with light, the walls of At-Turaif exemplify the rich history and story of the space. SMLA therefore, along with the client, wanted to find the perfect colour temperature to showcase this unique aspect of the site further.
“The first time we went there, it was sunset, and it was spectacular. We were immediately enchanted by this very particular, almost sand putty material, with a very fine grain texture. We’ve never lit anything quite as freeform and imperfect as that before.
“As soon as we saw that tone of sunset begin to hit the surfaces, it just popped, it resonated. It was like the space was telling us, ‘This is the light that I look good in’. That’s where this specific warm, rose gold, apricot light came from. It is right at the edge of a monochrome light where you feel that you are enveloped in an intense golden glow.”
Iain Ruxton, Associate Partner at SMLA, explains the painstaking process that the lighting designers went through before reaching this particular tone of light: “There was a lot of experimentation at the beginning of the project, when we did a large-scale mock-up to sell the idea to the client. At that point, we had enough lights installed where we could play around with colour and find the right combination. It took quite some extensive playing around before we found a solution that we were happy with, to then take to the client.
“Colour is an interesting thing, as although the site is relatively homogenous in terms of material, there is still quite a lot of variation. The mix of light that gives you the right colour on one wall doesn’t necessarily look right on another, because it is a slightly different colour. There’s more subtlety in it than you might think, from finding the right colour points and getting the client agreement, to walking in around the site, checking the levels and colours of each fixture and finetuning them. It’s not a theatre stage; there’s nowhere you can stand and see everything. Every single light was personally visited and focused. It was an incredibly fine grain of focusing effort that we had to do – a really complicated site to get focused up and programmed properly.”
Indeed, the placement of the luminaires themselves – around 2,500 Martin Professional fixtures – was integral to the success of the lighting scheme, and in creating the magical glow that SMLA desired.
“It was very important to remove the 21st century as much as possible,” says Bradshaw. “We wanted the light to feel like it was coming from the buildings and the walls themselves, which meant that we had to be very clever. Most of the luminaires are on the ground, so it feels like the city is glowing from the bottom up – and it is done in a very discreet way, with appropriately concealed fittings.”
“The fixtures have double casements, and are semi-recessed into the gravel that lies between the heritage wall, which we could not touch at all, and the street itself,” adds Adrien Flouraud, Design Associate at SMLA. “The gravel acts as drainage, as during the rainy season the site is susceptible to flash flooding, so we had to be sure that our casements were fully drainable as well. The luminaires from Martin are very robust and can handle this very well. From the 47° heat to the flash flooding, the amount of failure or return we have seen is absolutely minimal.
“But nothing is fixed anywhere, almost everything is only held in place by gravity, there are no screws, no drilling, nothing.”
A site of this scale, with such a high number of luminaires, called for a large-scale, extensive control network – something that could have been a challenge given the sensitivity and remote nature of the site. However, Ruxton says that establishing the control network was more straightforward than first expected: “We were quite lucky with the amount of electrical infrastructure and IT networks that were already on-site. There was a sitewide, high-capacity fibre optic network around the site already, with many small technical rooms around the site servicing the existing security camera network, cafés, point of sale, and so on. Luckily, we were able to reuse this network.
“There is one control system, but it is distributed through a number of controllers that are networked together. It all runs on Pharos, and the way that Pharos works means that it scales very well – you can put multiple controllers together and once set up, it all behaves as one. This gave us a bit more resilience and helped us a lot in the stage-by-stage commissioning.”
The control network is also flexible enough to factor in further expansion, as the recovery and restoration of At-Turaif continues.
“The whole city as you see it now is 95% complete, and there are potentially more bits and pieces to come in the future as more of the site continues to be rediscovered,” explains Bradshaw. “There is an ambition over the coming years to reveal more of the archaeology, as there is still a huge amount to be discovered. This is going to be fascinating for us to continue thinking about lighting on the other areas of the project.
“Factoring in the future development around the site we needed to look at not only the visitor experience, but also the views,” adds Flouraud. “We know that there will be further residential developments on the nearby wadi, so we have created scenes that are ready for this. Nobody can see them now, but effectively in our designs they are ready. There are some people who, in five year’s time, are going to be living in homes that don’t exist yet but when they move in they will find they get an amazing view every night.”
While the core focus of the lighting scheme is on the rich, warm amber lighting, the design also includes a special activation that reflects the importance of the lunar calendar in the Muslim faith. Each month, celebrating the new moon, the lighting shifts to a shade of blue externally, with the warm light remaining within. “The resonance of those opposites of silver against amber is just beautiful,” says Bradshaw.
Finding the perfect shade of blue for the ‘Full Moon’ scenario took another several rounds of finetuning and reviewing until all parties were satisfied, but the result creates a remarkable contrast. Flouraud continues: “When you shift to the Blue Moon theme, there is a real ‘village’ feel of what is inside the walls, contrasting with the outer façade. We had to be very precise to be sure that the inside walls were at the right level and not overlit compared to the outer walls. It was a lot of tuning between all these internal and external elements.”
The efforts that SMLA have gone to in illuminating At-Turaif have resulted in a scheme that beautifully showcases this landmark structure. In its raised position, the site is the major focal point in the landscape when viewed from the developing Diriyah Project across Wadi Hanifah. Balancing the external identity and the views and experience within the monument is at the heart of the design, and this is something that Ruxton feels has been successfully realised.
“Of course, it needs to look amazing when viewed from outside the site, but it also needs to be amazing to be inside and to wander about and experience it. These two quite different objectives that are not the easiest things to balance, but I think in the end we were very successful at that. We think it looks great, everybody else seems to think that it looks great; almost as importantly, it feels great. If you are in it and walking around exploring it, it feels magical at night, so I think we’ve done it justice in that respect.”
Bradshaw adds that the cultural significance of the space, and how the lighting adds to this, is what stands out to him. “It’s a real privilege to be able to work on a national monument that means so much to people.
“What I am most proud of is that when we talk to the Saudi people that were briefing us about the spiritual feel and importance of the place, they say that when you are there, it feels like we brought that to life. The people that I felt really helped us to understand the brief properly have said to us that it is exactly what they wanted us to create, and that it makes them feel very emotional, which is something that people don’t often express in our world of architectural lighting; it is not just clever, it is emotional, which is very special.”
DALI Alliance Lighting Awards 2024 open for entries
The DALI Alliance Lighting Awards are officially open for entries for 2024, the global industry organisation has announced.
With a number of new categories for 2024, this year’s programme represents a refresh of the awards to better recognise the diverse innovations and applications from across the lighting industry.
The traditional application categories have been consolidated into a list of four awards: Residential, Commercial Interior, Commercial Exterior, Industrial & Infrastructure, and Horticulture. Alongside the updated application categories, this year’s DALI Lighting Awards will include the following innovation categories:
- Best Use of D4i: Recognising innovative applications of DALI D4i technology in lighting systems, including enhanced data communication, energy management, and advanced control capabilities.
- Best Emergency Lighting Integration: Celebrating exceptional designs and solutions that effectively incorporate emergency lighting, ensuring safety, reliability, and compliance with standards during emergency situations.
- Best Human Centric Design: Honouring projects that prioritise human wellbeing by utilising lighting solutions that support health, comfort, and productivity through dynamic and adaptive lighting environments.
- Best Building Data Integration into Other Building Systems: Highlighting projects that excel in integrating lighting data with other building systems, such as HVAC, security, and energy management, to enhance overall building performance and efficiency.
- Innovation in Lighting: Recognising cutting-edge technologies, and advancements in lighting control solutions.
- Sustainability and Energy Efficiency: Highlighting projects that excel in sustainability, energy conservation, and environmental impact.
- Smart and Connected Lighting: Honouring advancements in smart lighting systems, IoT integration, and connected lighting solutions.
- Non-networked Lighting: Celebrating innovative applications in small or stand-alone spaces.
These new categories align with the growth of technologies, advancements in lighting innovative approaches that are being adopted by the sector.
Another significant change for this year’s Awards is that submissions will no longer be submitted to a specific category. Entries will be reviewed internally by the Awards judges, to assign the entries into a primary category. An assessment will also be made to determine if the entry fits into other relevant categories, allowing the possibility of a single project winning multiple awards.
The DALI Alliance believes that these updates to the awards will enable more submissions from a wider representation of the lighting sector, from emerging professionals to established industry leaders.
Paul Drosihn, General Manager of DALI Alliance, said: “We are very excited to launch this year’s DALI Alliance Lighting Awards, especially with a refreshed approach. We are confident these changes will make it more straightforward for those from across the lighting industry to enter, as well as providing more opportunities to get recognition in meaningful categories.
“The awards have already built up an enviable reputation and are highly regarded across the sector. The updates will further increase this, thanks to a more comprehensive evaluation process.
“We’re looking forward to seeing this year’s entries.”
As well as benefiting from the prestigious nature of the awards, winners will have their work promoted and highlighted through the work of DALI Alliance. This will offer excellent exposure and alignment with a credible, authoritative organisation.
The awards opened on 22 August, 2024 for entries, with interested participants having until 7 October, 2024 to make their submissions. More information on the awards and how to enter can be found on the DALI Alliance website.
David Morgan Review: Hydrel FLAME
David Morgan takes a closer look at the LIT Award winning FLAME from Hydrel - one of the most technically sophisticated exterior architectural lighting companies in the world.
When a company that started life in California in the early 1960s by setting out to develop the best and most reliable underwater lighting system then continues to innovate to this day, in the 21st century by recently creating a novel approach to colour mixing luminaires, I thought that further investigation was needed.
Hydrel, now part of the Acuity Brands group, has grown into one of the most technically sophisticated exterior architectural lighting companies with a wide range of surface mounted, inground, and underwater luminaires. Components are produced and products assembled in-house with manufacturing sites in Crawfordsville, Indiana, and Winona, Minnesota.
One of the latest product developments from Hydrel is the FLAME range, based on the successful SAF range of DMX controlled RGBW projectors. The FLAME range adds separate control of two sets of RGBW light engines to produce novel dual colour lit effects. The range received the LIT award in 2023 for Lighting Product Design of the Year.
It is surprising how sometimes it is the simple ideas that can be the most effective. Who would think that providing a double set of DMX addresses for a single RGBW luminaire would produce such interesting and attractive lit effects?
However, it is interesting to note that Hydrel includes a prominent note on the FLAME micro-site saying that the effects produced are intentional in case the viewer might get the impression that the effect was caused by a problem with the colour control or optics.
The range consists of three sizes of projector, each with three distributions. The smallest size – the SAF7F RGBW, which I tested – incorporates seven RGBW light engines fitted with 45mm colour mixing lenses. The seven light engines are controlled separately in two groups to produce the unique dual colour lit effects.
The narrow distribution gives a centre beam angle of 10° with three light engines and an outer beam of 30° with four light engines. The two sets of light engines are independently controllable. The wide distribution gives a centre beam angle of 30° with an outer cone of 70°. The third distribution, called Lotus, combines 10° centre beam with 70° for the outer cone, which produces the most obvious colour separation from the two sets of light engines.
Hydrel has included a useful and engaging visualiser on the FLAME micro web site where the user can adjust the beam type, adjust each light engine individually, and also show the lit effect from various viewpoints, on different wall surfaces, including white paint, stone, and red brick.
Hydrel give lumen output figures for the two groups of light engines separately. The highest output is for the narrow distribution with 823 lumens at the centre and 730 for the outer. This size of luminaire runs at 46 system Watts, giving a reasonable overall efficacy for an RGBW luminaire.
The next size up is the SAF14F RGBW with 14 light engines, delivering a maximum total lumen output of 2,699lm with a power consumption of 64.7W.
The largest size in the range is the SAF28F RGBW with 28 light engines, providing a maximum total lumen output of 4,949lm with a power consumption of 165W. The overall diameter of the luminaire body is 406mm and is designed for use on larger projects.
The SAF7F sample I was given to test came with the Acuity Fresco controller, so I was easily able to adjust the colour and intensity of the two sets of light engines. The colour blending lenses worked well and there were no colour separated shadows from each light engine. The industrial and engineering design of the SAF FLAME luminaires is sophisticated and well detailed. A wide range of mounting and glare control accessories is available, and the luminaires incorporate well considered luminaire adjustment locking features. The die cast luminaire components are of high quality with concealed fixings. Two four-channel DMX drivers are housed within the luminaire to give the eight DMX addresses.
According to Chris Sorensen, Senior Director of Engineering at Hydrel, who led the FLAME development team, the motivating idea behind the development of the FLAME range was being inspired by projection art installations while simultaneously feeling tired of saturated RGB colour chases. The team members challenged themselves to build a new tool with which to ‘paint the night’ in a new way.
Apparently the first FLAME mock-ups were done using Photoshop, where images of two beams were arranged on top of each other so that the colour and blending of the beams could be independently controlled. It is understood that considerable effort was needed to develop the optical system to produce the best colour mixes for each distribution while avoiding disturbing artifacts. A patent is pending for the optical system used in the FLAME range.
I look forward to seeing further developments of the FLAME system and to seeing the projects where the unique lit effects have been used to the greatest advantage.
www.hydrel.acuitybrands.com
www.flame.hydrel.com
Sacha Abizadeh - 70 Chancery Lane
Sacha Abizadeh, Growth Director at WSP UK, talks us through the innovative and sustainable redesign of the firm’s office at 70 Chancery Lane, London.
The recent retrofit of WSP’s offices at 70 Chancery Lane is a testament to the power of intelligent design and cutting-edge technology. This project exemplifies how lighting, integrated with smart systems, can transform a workspace into a thriving hub of collaboration, sustainability, and innovation. As the lead lighting designer on this project, I am thrilled to share the journey and outcomes of this ambitious transformation. Our vision for 70 Chancery Lane was clear: create an inviting, energy-efficient environment that showcases WSP’s expertise while enhancing employee wellbeing and productivity. Lighting played a crucial role in this, blending functionality with aesthetics to create a space that is both inspiring and efficient.
Smart Technologies
One of the standout features of our lighting design is the integration of smart technologies. We utilised occupancy sensors and smart building analytics to ensure spaces are used to their full potential. The lighting system adapts to the presence of people, optimising energy use and creating a dynamic, responsive environment. The integration of the lighting system with the Building Management System (BMS) takes this a step further. Meeting rooms and collaborative spaces are equipped with localised controls, to allow for dimming and preset scenes tailored to various activities, such as video conferencing. This not only enhances user experience but also contributes to significant energy savings.
The lighting design at 70 Chancery Lane is a blend of innovative thinking and sustainable practices. Throughout the building, linear LED luminaires integrated within acoustic panels provide uniform, glare-free lighting that enhances comfort and productivity. These fixtures are strategically placed to avoid direct lines of sight, ensuring a comfortable work environment.
Our approach to daylight integration is particularly noteworthy. Perimeter lighting is designed to complement natural light, creating a soft, uniform illumination that mimics daylight conditions, even on overcast days. This system is programmed to adjust according to seasonal changes and daily cycles, always providing the right level of illumination.
Close Collaboration
We worked closely with contractors, including UK lighting manufacturer DRK, who supported throughout the project. From the initial on-site mock-ups to final commissioning and snagging, we ensured the lighting was set at the right design and met the desired scheme. This close collaboration allowed us to refine our design, to ensure the final installation perfectly matched our vision.
A particularly notable feature is the WSP 3D logo embedded into the wall. We collaborated with lighting manufacturer Fabricate to develop a series of lighting mock-ups for the static red logo, positioned prominently in the ground and first-floor receptions. This element not only enhances the visual identity of the space but also adds a unique, branded touch that visitors and employees alike can appreciate.
Flexibility in Design
Flexibility was a key consideration in our design. We developed a split HVAC system with two plant rooms for the east and west sides of the building. This allows us to shut down one side when occupancy is low, further conserving energy. The lighting system is also adaptable, with the ability to reprogramme settings for special occasions and corporate events, ensuring the space remains relevant and efficient as needs evolve.
In terms of efficiency, our functional lighting achieves an impressive 5.54W/sqm, and when combined with feature lighting, it totals 7.5W/sqm. This is a substantial improvement from the original Chancery Lane lighting design, which utilised square panels and downlights at 11.8W/sqm. These enhancements underscore our commitment to reducing energy consumption while maintaining a high-quality lighting environment.
Creating an Inviting Workspace
The lighting design goes beyond mere functionality; it enhances the overall work environment. Increased ceiling heights and exposed services create a sense of openness, while strategically placed decorative pendants and feature lighting add a touch of elegance and warmth. The reception area, with its dynamic, reprogrammable lighting backdrop featuring the WSP logo, creates a welcoming first impression.
Post-pandemic, the shift towards hybrid working necessitated more collaborative and informal spaces. Our lighting design supports this by creating zones that encourage interaction and teamwork. The central spine of tea points, with its inviting lighting, draws colleagues together, fostering a sense of community. Each floor features open kitchens with decorative Lili lighting and acoustic raft panels, providing perfect spots for informal meetings and breaks.
A Sustainable Office Fit for the Future
Sustainability was at the heart of our project. We reused furniture where possible, donated surplus items to charity, and meticulously dismantled other pieces for recycling. This commitment to reducing waste underscores our dedication to creating not just a beautiful, functional office, but a sustainable one as well.
The retrofit of 70 Chancery Lane is a showcase of what is possible when lighting design, smart technology, and sustainability converge. The result is a space that drastically lowers energy demand, enhances wellbeing, and promotes productivity. This project has been an incredible opportunity to push the boundaries of lighting design and demonstrate how thoughtful, innovative approaches can transform a workplace into a beacon of modernity and sustainability.
As a lighting designer and as part of the WSP team, this project has been a thrilling challenge and a proud accomplishment. It stands as a testament to lighting design and creating spaces that are not only functional and efficient but also beautiful and inspiring.
Marcus Steffen - How owners prevent their companies from growing
As a business owner, it can be hard to let go and delegate tasks to your team as your company grows. Marcus Steffen explains how this can damage your business in the long run.
How many times have you had a bad boss? Perhaps they micromanaged you, you had no freedom, or they constantly undermined you? And you think to yourself that when you are a manager/start your own business, you will be different. You are going to do it right. I can tell you that most people will not be able to do it right, and the reason is that people do not like to change. But if you can grasp the steps you need to make to change, then this is where a business can grow and be successful.
It is a strange topic to talk about, but I feel that in our industry (as in almost every other industry) it is a major issue. We have all had these experiences, and it is a constant topic of memes across social media, and jokes you share with your colleagues. This is the exact reason that made me curious, and caused me to find out that I had to make some big changes in running my business. But let us take it back to the start with an example: starting your own lighting design consultancy.
Starting Out
You have decided to go it alone, build your own business, and you are going to do it right. You have saved up some money, you have done the work setting up a portfolio website, social media and maybe you have a couple of projects to work on from contacts. You get to work, and you are doing everything – the meetings, CAD, schedules, snagging, making the coffee, doing the accounts, social media posts: everything. This is what it means to start the business on your own. You are responsible for it all, you are making the money, and you are going to grow. That motivation and dedication is what will help you succeed and get to the next level.
A year later, you have a number of projects, you are working 60-70 hours a week and struggling to keep up. Normally it goes in one of two directions here. Either you keep going this way, your marketing drops off, you finish the projects and then have no work. You go into massive peaks and troughs of work, and it is very stressful. The other way is that you hire someone to help you out: a junior designer! This is amazing, since they will be producing drawings and schedules while you are meeting clients.
Expanding and building a team
If you have gone the second route, and hired someone, this will hopefully continue and you will eventually have a team of designers, and this is where things get difficult. While you have some staff, it is almost certain that you have the same mindset as when you first started: you do everything, you are responsible for it all, and you are worried someone is going to make a mistake. And this inability to delegate and let go of responsibility is what leads to the classic bad boss traits.
As someone builds their business, they need to evolve their mindset from being the worker into being a manager. The skills of a manager are completely different from those of a worker. With management you need to support your team, you need to enable them to do the best work possible, and you need to make sure that they are engaged (dare I say passionate) with the outcomes of this work. This means you need to give them control and responsibility, and accept that there might be mistakes. It also means that you need to let go of your ego, which motivated and drove you through the initial stages of the business and accept that others are going to produce the beautiful designs you create.
How to let go
True delegation of work is essential for any business. While some owners may feel that they want to stay at the core of the company, they are actually doing a disservice to their clients. The fact that they do not have a team who can take ownership and responsibility means that you are putting those clients at risk. If the owner was to fall ill or be unable to work for some reason, then their clients will be let down. On the inverse of this, if they have a team who can deliver the work without relying on them, then there is more redundancy built in, so that no one person becomes a bottleneck.
A lot of owners and managers find it difficult to delegate to employees. They worry about mistakes being made, which may cause problems, angry clients and potential penalties. Realistically, there will always be mistakes made by anyone on a project. The projects we all work on are hugely complex, are going to have errors, and even the owner/manager will make mistakes. No one is perfect. So how do reconcile the fact that we don’t want mistakes to happen, it is making us worried about delegating, but this is preventing workers from doing what they do best?
Ensuring delegation works
The key is putting systems and processes in place to prevent mistakes from happening in the first place, and then having ways of resolving those mistakes when they happen. This is where the difference shows up between someone who is amazing at their job (in our case lighting design) and someone who is building a business or managing a team. These are two completely different skill sets. A business owner or manager is going to want to create systems and processes as a way to ensure that the work is being done to the correct standard. Some examples of these:
• Checklists for what has been produced and issued.
• Guides on how to do anything, from laying out a CAD plan to building a fitting schedule.
• Peer review and checking by others on the team.
• Templates for anything structured, such as CAD, meeting minutes, standard emails, etc.
• Software to automate and remove errors in the design process.
• Standard questionnaires for gathering information and client briefs.
There are many other types of systems than these that can be created. These systems and processes ensure there is a structure to the way projects work. Good managers will be taking this out of their heads and putting ways of working in place that team members can follow. This will allow them the freedom to take ownership and know that what they are working on will be correct. They can feel proud of what they are producing, knowing that it is their own work.
As an example, MSLD prevents potential problems by highlighting very complex details during the concept and development design stages. We will look over a project and look at what is particularly challenging. These are added to a list, and we then ensure that we have a final review before submittal of those details in particular. The other elements I then trust the team to be able to deliver themselves.
Reap the secondary benefits
There are other benefits to having a smoother running design process that doesn’t constantly require a manager/owner’s attention. Empowering your employees to have more control over their work, and not micromanaging them will make them happier. This has been shown consistently in research across the world. This also leads to a better working environment, higher staff retention, satisfaction and reduced recruitment costs. It also helps develop those long-term relationships with clients as teams get to know each other and work well together. In addition, with the time won back, it can be spent on critical tasks such as finding new projects and opportunities, training staff, and planning for the future growth of the company.
Studio Waldemeyer
20 years since Moritz Waldemeyer established his eponymous design studio, arc sits down with the German designer, and his partner / Product Designer Nazanin Farahbod, to talk about the growth of the studio, and their unique role as “Art Engineers”.
It is often said that lighting design is the meeting point between art and engineering; bridging the gap between creativity, expression, and science – its ethereal qualities bringing together architecture and interiors in the intangible way that only light can.
This fusion, an almost paradoxical marriage, forms the basis of the work of product designer, lighting experimentalist, and self-confessed “Art Engineer”, Moritz Waldemeyer, who this year celebrates the 20th anniversary of his eponymous design studio.
Across his extensive body of work, Waldemeyer has crafted bespoke creations for the automotive industry, the fashion world, music and live entertainment, with a client list including such star names as Bentley, Swarovski, Jamiroquai, and the Cirque du Soleil. Each time forging unique pieces that beautifully blend art and technology.
This combination of disciplines is something that Waldemeyer believes has been with him since childhood. Speaking to arc at his beautiful home studio in London, he says: “The story starts best with my upbringing; I grew up in East Germany under communism, which was obviously a very different experience to what we have today. You couldn’t really buy anything, you couldn’t travel anywhere, everything was very reduced. And on top of it, we were very aware that we were on the ‘wrong’ side of the fence, because we had Western TV. But within that, I grew up in an artistic family, so there was always a lot of creativity.
“Throughout my childhood, I knew I had to escape my situation. My uncle, who came to London in the ‘80s to work as a designer and architect, became my role model. Following his example, I packed my bags and came to London to study engineering. This blend of art and engineering forms the foundation of everything we do today.”
Once in the UK, Waldemeyer studied Mechatronics at King’s College – an amalgamation of mechanical and electronic engineering, “with a little bit of computer science thrown in for good measure”, that he believes gave him the most complete understanding of “all the engineering disciplines rolled into one”.
It was during his studies that Waldemeyer first started playing with light, experimenting with early iterations of LEDs. This then took him on a path that, at the turn of the century, led him to Signify (then Philips), where he worked as a Research Scientist.
For a man always looking to push the boundaries of what was possible with lighting technology, he refers to this as “the place to be”. “Philips was very much ahead of the game, looking into the future. I was in the research department, so it was all about futurology, figuring out where it all goes, and researching and doing projects. So, that’s where all of these things came together.
“This marked the beginning of the rise of LED technology, and we already knew it was going to be the next big thing while most of the world was still using incandescent lamps. We had graphs and discussions about a ‘Moore’s Law of LED,’ predicting the doubling of output or halving of price per output over specific periods. We knew exactly where the technology was headed.
“They were also doing incredible work in wearable electronics, which later became a significant aspect of my work. It was probably the best place in the world for that kind of innovation.”
Waldemeyer spent four years at Philips, honing his craft, before making the decision in 2004 to establish his own design studio – a decision made in part thanks to a chance collaboration with a big-name client.
He recalls: “There was a moment when an opportunity came about to start working with Swarovski. So, I had to make a decision – did I want to stay at Philips? My project at that moment was less engaging and this opportunity with Swarovski, working in the design world, was so much more exciting.”
Indeed, this first move into the world of design saw Waldemeyer collaborate not only with Swarovski, but with renowned architect Ron Arad, on a custom, interactive chandelier to which viewers could send text messages.
“I met Ron through a friend who was working for him at the time. My friend said, ‘You should meet Ron, I think he would like what you can do.’ And indeed, he did.
“Ron approached me with a project right away, saying, ‘I’ve been asked to make a chandelier for Swarovski. I want to create a text message chandelier. Can you do it?’ I replied, ‘I can certainly try.’
“I had four weeks to complete the project, and it was then showcased at Milan Design Week in 2004. It was presented right next to Ingo Maurer’s latest chandelier, so I got to meet him, Ron, and Nadja Swarovski – the crème de la crème of the design world. Suddenly, I was in the midst of it all.”
Thrust into the upper echelons of the design world right from the start, Waldemeyer explains that while he was first establishing his own studio, it was opportunity, rather than an over-arching mission statement, that drove him forward.
“In the beginning, it was about following curiosity and seizing opportunities. It was incredibly exciting because I was likely the only person with this unique skillset, and I somehow managed to enter at the top level.
“Suddenly, I had requests and opportunities to work with remarkable people – something I could never have foreseen or even dreamt of. Initially, I was simply following this momentum. Over time, I was able to refine my direction and decide where I wanted to take it and where it would lead.”
Where it did lead was for Waldemeyer to coin the term “art engineer” as a way to better describe the kind of work that he does, while also inspiring the studio’s philosophy.
Nazanin Farahbod, Waldemeyer’s partner, and Product Designer within Studio Waldemeyer, explains: “Our philosophy is to ‘create new emotions’ by developing concepts that tell relatable stories while using new technology in surprising ways. It’s about merging these two elements seamlessly.
“When we call ourselves ‘art engineers,’ it’s because we truly engineer the art. What sets our studio apart is our in-house capability to bring concepts to life without relying on external teams.
“While others may need separate groups to realise their ideas, we handle everything ourselves. We can iterate, prototype, and refine quickly. This ability to control the entire process is why we are art engineers.”
Waldemeyer adds: “A major advantage of combining art and engineering is that our ideas are always feasible because this practicality is ingrained in our thinking. We’re very efficient in our creativity. While we do R&D, we usually conceive ideas with a clear understanding of how to execute them, making the process from concept to presentation quite straightforward with minimal adjustments.
“In our earlier years, we pushed boundaries and sometimes went a step too far. Now, we better understand the importance of aligning with the client’s perspective and expectations. We educate them on what is feasible and what they can realistically expect.”
This is something that Farahbod believes sets the studio apart, although it can sometimes lead to slightly more difficult requests, as she explains: “For example, in 2017, Cirque du Soleil approached us to create a dress that could change colour without using LEDs. We conceived a dress adorned with flowers that open and close revealing a red blossom on a white background. This allowed for animations that controlled the dress’s colour. The technology was embedded in each flower, but the focus was on evoking emotion.
“Similarly, we recently met with Philippe Starck, who asked us to create something never seen before, trusting us to bring the vision to life.
“Balancing the artistic and engineering aspects is crucial in our work. We undergo extensive R&D to achieve our desired outcomes. It’s a matter of intuition; there’s no set formula for balancing emotion and technology – you just know when it’s right. We aim to avoid appearing too tech-heavy, instead, we focus on wonder, magic, and storytelling.”
That being said, Studio Waldemeyer does go to great lengths to ensure that it is at the forefront of lighting technology, and fully aware of any new advancements that are emerging.
Waldemeyer continues: “We go to a lot of different kinds of events, not just lighting. We go to electronic fairs; I’ve been out in China to the Shenzhen Market, literally to the source. I’ve been to see the company that we work with that makes the LEDs we use to look at the process and understand how I can use this technology to do what I want.”
One such example of the studio’s tech-centric approach to design has been in its LED “candles”. Used to great effect in Waldemeyer’s landmark large-scale installation, Mythos Mozart exhibition in Vienna, the candles produce a strikingly lifelike, flickering flame, composed entirely of LEDs.
“We took apart the LEDs to their bare components, and then reassembled them into the candle module,” Waldemeyer explains.
“It’s a single component, with some chips integrated between LEDs, making them invisible. This dives deep into LED technology. Achieving this is a significant milestone because such technology is typically inaccessible to designers like us. Most lighting designers wouldn’t understand when I mention we’ve created a COB candle – I have to explain the entire process for them to appreciate it.
“Chip on board (COB) technology is gaining traction. It involves working with the individual components of LEDs and reassembling them into new shapes and forms that weren’t possible with traditional electronics.
“This is just one example showing our passion for animated light. Most artificial light has been static since Edison’s time, whereas natural light is always changing. We strive to reintroduce this dynamic quality into artificial lighting and living environments.”
Studio Waldemeyer used 1,500 of these COB candles in the Mythos Mozart exhibition, as part of an incredibly dramatic, and emotionally stirring, light show.
Farahbod explains: “The museum is located precisely where Mozart died. We were given two rooms: one to visualize his brain and the other to evoke the emotion of his final moments. We installed 1,500 individually controllable candles, allowing us to manipulate their brightness and movement, or even let them act randomly. We created an eight-minute experience that moved viewers to tears. We were told that people sit down, cry, and become deeply emotional during this experience. Our goal is always to use technology to create emotion.”
Another emotionally stirring highlight from the studio was a piece created for London Design Festival 2023, entitled Halo. Situated at St Stephen Walbrook Church, the piece was a celebration of the work of Christopher Wren – the architect who rebuilt the city after the Great Fire of London – 300 years after his death. Seen as a precursor to St. Paul’s Cathedral, the St Stephen Walbrook Church is considered by many as Wren’s best work, “because of the scale, and the way it works with the light, and the airiness of the architecture,” according to Waldemeyer. One of its defining features is the circular Henry Moore altar, which sits at the church’s centre. For Halo, Waldemeyer installed a hanging, illuminated pendulum that gently rotates around the circular altar.
He continues: “The aim was to put people into a meditative state. The architecture is designed to remove you from your daily experience, encouraging introspection and meditation. We wanted to offer this to everyone, regardless of their faith, providing a new way to experience this architecture.
“The pendulum, thanks to its length, circles slowly, taking about nine seconds for a full revolution. When you sit and watch it, it draws you in, which was our intention. This blend of technology and meditation shows how a pendulum’s swing is governed by pure mathematics. It also reflects how Wren perceived himself – primarily as a scientist, with architecture being a side discipline to his larger scientific interests.”
Elsewhere in a remarkable back catalogue of projects, Waldemeyer has worked with iconic fashion brands, big name musicians, and in the automotive industry, working with the likes of Audi, Hyundai, and most notably Bentley, where to coincide with the brand’s 100-year-anniversary, he collaborated on its EXP 100 GT concept car.
As a self-confessed “Petrolhead”, Waldemeyer says that, across his body of work, the automotive projects stand out as favourites. “There are a couple of reasons for it,” he explains. “First, I personally really love the topic. It probably harks back to my upbringing in East Germany, because I grew up in a Trabant [an East German car, colloquially known for its poor design and operation], so it’s a very exciting industry.
“Additionally, it’s a very professional environment. Unlike the fashion or music industries, where things have a quick turnaround, the automotive industry has well-educated expectations and a highly professional way of interacting and collaborating.
“When proposing a complex technical project to an automotive engineer, there’s a precise understanding of what to expect and deliver due to their engineering education.
“In contrast, in the fashion and music industry the expectation of extremely fast turnarounds at very low cost in itself provides a sometimes insurmountable challenge.”
Because of this, although he has a lengthy, star-studded client list, there is one name that Waldemeyer still has on his Bucket List of collaborators.
“Gordon Murray, the South African car designer, is someone I repeatedly mention. We’ve found interviews from over 10 years ago where I still talk about him, but he hasn’t called me yet. He probably never will, as his mindset goes in a very different direction. When we work on cars, we bring drama with light, while he derives drama from the engine and car dynamics, adhering strictly to the principle of form follows function.
I’ve seen him discuss lighting, and for him, it’s purely functional. He prefers round lights for their timelessness. So, a collaboration is unlikely, but I still admire his pure approach, even if our styles don’t really align.”
Similarly in the music world, while he has worked with some huge stars, including creating a custom bass guitar for U2, an animated, moving headpiece for Jamiroqai, and a light-up jacket for Will.i.am during the Black Eyed Peas’ Superbowl Half Time Show, he is still holding out hope for one act in particular. “I’d love to work with Rammstein. They’re total pyromaniacs!
“The most impressive use of light on stage I’ve ever seen was by their singer, Till Lindemann. He had his cheek pierced to insert a fiber optic light into his mouth, so when he sings and opens his mouth, it’s fully illuminated. That is total commitment!”
While these two examples have yet to come calling, Waldemeyer and Farahbod reveal that the studio has several exciting works in progress at the moment (none of which he can talk about as the studio is “constantly signing NDAs”). Given the extraordinary output from the studio over its first 20 years, expectations are high, but no doubt these expectations will be met, and exceeded.
Solus Ceramics, UK
At the new Manchester studio of tile manufacturer Solus Ceramics, Artin Light has created a theatrical lighting scheme to dynamically showcase the brand’s products.
Tile manufacturer Solus Ceramics has opened a new studio, workspace and showroom in Manchester, taking over the ground floor of the Grade II* listed Manchester Law Library.
The refit of this historic space was undertaken by ICON Projects, designed by Incognito, with lighting design spearheaded by Artin Light. Given the heritage of the site, the refit required a high level of sensitivity, with skill, accuracy and attentiveness high on the agenda.
Located on Manchester’s Kennedy Street, the Law Library’s exterior is characterised by three highly ornamented bays, with tall windows in triple section surmounted by geometric mouldings and one heavy, carved oak door. Across the threshold is a small atrium adorned with Victorian terrazzo and mosaic.
On entering the studio, the eye follows a path to a low bar and tea point, while to the immediate left, an opening gives on to the front display area, which is lined with simple birch joinery, displaying the ceramics. These shelves continue through the space, lending the impression of a library and its serene atmosphere.
Working hand in hand with this intimate, cosy atmosphere, the lighting further accentuates the feeling of serenity. Although bright and neutral in its day-to-day setting, ideal for those working within the space, the lighting can take a more theatrical slant for product demonstrations. A central focal point within the space, dubbed ‘the campfire’ features an island table lit by a theatrical lighting rig, where targeted pins of light give visitors the ability to view tiles under different lighting scenarios in a dramatic, yet remarkably effective fashion.
Maya Gribby, Designer at Artin Light, explains the thought process behind this striking design move: “Solus has a slogan, which is ‘Every Tile Tells a Story’, and this is what the campfire idea was created around – a place where you’re telling stories about the tiles, where they come from, the qualities of those places, and the lighting replicates this to enhance that storytelling.
“One of our main concepts was colour grading, and matching the lighting scenario to where the tiles would come from, but also where they are going to go. For instance, if an interior designer comes in, and knows that the tiles will be in a room that is lit at 3000K, they can change the lighting to see how the tile is going to look in that lighting condition. So, it becomes a useful tool for them to have, not just for the storytelling aspect.
“We wanted to be able to shift from a neutral, bright workspace to a super moody, theatrical, almost museum level of dramatic lighting. With the introduction of the campfire table, we looked at how we could combine functional and coloured light.
“When you go abroad, there are different tones of natural light depending on where you are, and Solus wanted to bring that into the concept. For example, if the tile is from Rome, they wanted to be able to replicate the feel of the lighting in Rome. We also talked about whether the light has to be a spotlight, or whether it could have the feel of a shaft of light coming down. Then you have the shadows that cut off the light, and as a result viewers are more tempted to interact, move their hands into the light, and play around with it, getting a feel for the tile and exploring it a bit more. It became very interactive.”
The interactivity and customisation in the lighting was a very important factor in the lighting design, not just for Artin Light, but also for the client, as a means of giving viewers a more accurate depiction of what the tiles may look like in the likely very different lighting scenarios of their homes.
Having a client that was on the same page as the design team is something that was of great benefit to the overall project.
Luke Artingstall, Director and Founder of Artin Light, adds: “It was a collaborative process throughout. We approached Solus with these ideas; we had the initial brief, and we paid reference to the experience we had previously had on their London showroom where everything got quite dramatic, and it was all about taking it down to this one spot.
“From our perspective, we took that and moved it into this new direction. That led onto these ideas talking about how light can feel in different locations. That allowed us to bring tunable white and colour into the mix – this is something that Solus liked because of work that we had done previously, and they wanted to have that capability of bringing that it in as well.
“It was a whole process of experimenting with light, and experimenting with this idea of the campfire. It was a good, collaborative process, and Sam from Solus was very passionate about it – he appreciates lighting, and talks about lighting as a material, understanding that it can have a dramatic impact on everything.”
To create the striking lighting effects, Artin Light used two sets of framing projectors from AlphaLED – one in tunable white, and the other in RGBW. Beyond the Campfire table, the site includes a lower shared working space for the Solus team. All five programmatic entities within the space – the entry path, the bar, the front display, the campfire, and the workspace – are lit differently but unobtrusively, so that the transition between the areas is subtle, yet deliberate.
With such variation within the space, effective lighting control was imperative. Artin Light worked with Mode Lighting on the controls, to ensure that each scene had the right ambience and theatricality.
Artingstall continued: “We went through and set up a multitude of variations, including tunable white and coloured options, which we preset for Solus to use. We wanted it to be quite experiential so that once they got to the ‘Campfire’ table, everything was dark around them, they can use these controls to fade the light up and down.
“Although it’s not a huge scheme, it has been really successful. Although it wasn’t always straightforward to get to the end point, the result is really good, and I’ve not seen many scenarios like that before, especially in Manchester, that bring this kind of theatricality to a space like this.”
Stuart Alexander, Associate at Artin Light, adds: “The client really said ‘I’ve never seen anything like this’. It sounds like a joke to say that architects and designers and other people in these industries don’t actually know what 2400-6000K is. But it’s really cool that we could bring that to them and give them the knowledge and information. Now, they can talk about it and have the understanding to use warmer colour temperatures when they want to.
“Seeing from the imagery that Solus is posting on social media, it feels like it has given them a real image too – it has created an atmosphere, and a feeling of warmth and invitingness.”
“I went to a networking event there recently, and they had set a square spotlight onto each tile – these were lined up exactly with the three square tiles on the table, and when people were arriving to the event, it had the drama and theatrics of these glowing tiles on the table that instantly got people talking,” Gribby adds.
Despite the project sitting inside a Grade-II* listed building, the lighting designers said that the heritage aspect of the Manchester Law Library didn’t have too much of an impact on the interior lighting design. Instead, the restrictions that they did encounter were utilised to further enhance the intimate ambience.
“The building is absolutely stunning – it’s a little gem down this back street, and we couldn’t ask for a better building. For the interiors, before Solus moved in, it was used as an office and a showroom, so there weren’t any major restrictions. We couldn’t recess lights into the existing ceilings – everything had to be suspended in with minimal intervention,” Artingstall explains.
“The Campfire has an acoustic system suspended above it, which added to the whole idea of sucking viewers in. We had coordinated the gobo projection within that ceiling panel as well – this was all independent from the structure of the building. A lot of what the interior designers did was quite modular – it was more about the joinery elements that they brought into the space. They weren’t necessarily doing anything structural; it was a blank canvas that they then started inserting the joinery pieces into.”
Although the lighting concept has a large focus on the dramatic elements of the showcase Campfire, the team also took great care to ensure that, outside of the theatrics, the space still worked as a functional, comfortable workspace for Solus employees.
Artingstall continues: “From a functional perspective, although a lot of the focus has been on the theatrical elements, we also worked a lot on the day-to-day usage of the space. Away from the Campfire, towards the rear of the building, they’ve got access to a lot of natural light through a wall of floor-to-ceiling windows. These have blackout curtains, so that when they do bring people into the space, they can control the environment and the light in there.
“From a control system perspective, we also worked with Mode Lighting on multiple scenes, where it starts off as a day-to-day operation, but then it allows them to step it down to the point that it’s all focused on that one point.”
Gribby adds: “We added task lighting to the workspaces too, so even if they do have someone going through the dramatics of the presentation while others are working, it doesn’t take away from it by having these task lights on still.”
This combination of lighting elements adds to the overall aesthetic of the site, and indeed the reaction to the space, and in particular its dramatic lighting, since its opening, is something that Artin Light as a team, is incredibly proud of.
Alexander says: “Something that is very cool about it is that it has invited people to take pictures for their socials – there is a framework built in so that any architect or designer visiting the space can create their own little theatre. When we were there, we were playing with the tiles under the light for ages, it’s quite a powerful thing. To see that Solus has incorporated it into their branding, matching the design of their brochures to the shapes, having been inspired by what we’ve done, is really cool.”
“There’s something very emotional about light, and it’s clear from a lot of Solus’ marketing material, where it is used in such a dominant way, because as soon as you see it, you’re instantly drawn to it,” Artingstall adds.
“Looking at what we achieved under what was a fairly small budget is quite incredible. Ultimately, the clients are interior designers and architects, and traditionally they would go to a space where they’ll have a look at the tiles in a standard environment. But by taking this next level of approach, it has created a different vibe and elevated it into a complete experience.”