Blurred visions of a lighting designer
As the lighting industry continues to go through rapid growth and developments, Manas Deniz, founder of 781 Lighting, calls on the industry to slow down and take a look around.
“I sometimes think drivers do not know what grass is, or flowers, because they never see them slowly.”
Fahrenheit 451, a dystopian novel written by Ray Bradbury in 1953, is undoubtedly one of my favourite books of all time. The observation above belongs to a rebellious teenager called Clarisse, who complains about a certain law that demanded everyone to drive fast enough, so that no one could witness the pleasant details of life. “If you showed a driver a green blur, Oh yes! he would say, that is grass! A pink blur? That is a rose-garden! White blurs are horses. Brown blurs are cows,” continues Clarisse, mentioning the things they were all missing.
But because of such a speed limit, drivers ended up seeing commercials just as blurry as cows, flowers, grass, and horses, which was clearly not intended. So, authorities enlarged the size of the billboards so everyone could read them while keeping the rest blurry.
Bad news is, the world of light and lighting design recently appears no different because of laws, restrictions, and the unnecessary speed that each and every member of the lighting industry has to carry through. We are taking a leap from a dystopian novel towards professional lighting design, but let me show how similar they sometimes feel.
Since my graduation from Hochschule Wismar back in 2019, I have been thinking about how lighting design could be carried out with more sensitivity towards global, personal and social wellbeing. One thing that appeared clear to me was the speed that the lighting industry had been evolving at, thanks to ever-changing technologies, trends, methods, and approaches. Although awareness for the importance of proper lighting is getting more and more prevalent, there are still so many aspects we miss due to this extraordinary rush we are in.
Clarisse of Fahrenheit 451 was aware of what billboards ordered us to do, to buy and to think. But how about the billboards of our world, the world of light? This speed we carry disconnects us from our planet and our society and even from ourselves. We can see some things more clearly, yet others appear almost as if looked at behind some frosted glass. We are still far from seeing all those details, which make us better people, and a better lighting enthusiast in the end. Here in this article, I would like to introduce you to the visions of a lighting designer that we see and miss on our way, during this fast and long drive of ours.
For quite some time now, the call for energy efficient products, solutions, lighting methods and energy-friendly projects overall has been echoing in our ears. Lately, every single lighting designer, manufacturer, architect and even client has heard about the significance of energy efficiency at each lighting related conference and fair they attend. Speakers nowadays never forget to mention how much energy and money they have saved with the use of LED light sources, sophisticated control systems, and smart lighting gadgets. While manufacturers have been promoting their range of products with the capability of providing extraordinary efficacy data and the lighting industry gathering around “a more efficient world”, we are starting to overlook other aspects of light and lighting design.
The phasing-out of traditional incandescent lamps is one big example of how the industry has evolved around the passion for efficiency. Obviously, that is because our understanding of light has changed dramatically over the past decade. The definition of light is nowadays equal to the definition of only visible light. However, for thousands of years, living beings have benefited from the Sun and the full spectrum of wavelengths that sunlight consists of. Nowadays, production of wavelengths beyond the visible range – especially infrared – are said to be a waste of energy. Those who try to compress our understanding of light into a narrow range forget the fact that all living beings, both psychologically and physiologically, have adapted to a greater range of energy since life began. Although light without a wider range of energy might not appear as efficient in the means of visible light per consumed power, all those wavelengths we miss with newer technologies not only bring quality to light but also to our lives.
Higher ratio of distributed visible light per consumed power unit is now possibly what makes a light source a legitimate tool for design. Open a random catalogue of products that contain LED light sources, and the first information you see will be the lumens per watts data. The manufacturers are not the ones to blame for promoting it. After all it all comes down to what the customer demands, and as lighting designers it is our duty to guide those who are not working in the field of lighting. Although efficiency is a major consideration in a project, it is not everything. In other words, I do accept that efficiency is a significant benefit that LED technology has brought into our lives, however it is not significant enough to shape a project around it.
A psychological effect, the Jevons Paradox, refers to more consumption of a product than usual when that product is claimed to be efficient. A year ago, a very close friend of mine turned his living space into a Bluetooth-controlled RGB smart lighting-house. And I still spend my evenings in a living room where only two dimmed halogen lamps are turned on, which appear to be way less energy-friendly compared to LEDs. He turns the lights on 30 minutes before he gets home via his smartphone app, while I turn off my two beloved halogens whenever I leave the room. So, I do wonder who has a larger electricity bill.
Before we buy lighting products, often we are certain of how energy-friendly they will be, however there is a flipside to the coin. Examples could be supported with proper data, however my goal is not to fill pages with graphs and tables but to remind you to question the practicality of what billboards tell. Things that we believed were crystal-clear are perhaps a sequence of illusions that forbid us from seeing what we actually need to see. But what are those things? Let’s break the law, lift off from the gas pedal and take a look around.
The efficiency paranoia has initiated a rapid switch from traditional light sources to LED lighting all around the world. The residential example I gave above is just a small part of it, since the whole world is switching to LED technology on a greater scale. Streets, parks, highways, walkways, almost every outdoor space is now aimed to be illuminated with LEDs. The main reason behind the change is again the prophecy of energy-efficiency. However, the rebound effect is applicable for outdoor situations as well, probably even in bigger digits. Although fixtures with LED light sources provide much more controllable and directional outdoor lighting, the over-usage of luminaires has been increasing the light levels all around the world. Scientists and researchers have been sharing numerous before and after satellite images of LED installations. There is an increase in radiance towards the sky and the fact that night-time
dark skies all around the world have been disappearing is now undoubtable. We perhaps have started to forget what the night sky and the stars used to look like.
Remember the pre-LED, traditional street lights we used to have? High-pressure and low-pressure sodium lamps, which had a warm amber-like colour. This monochromatic colour of light consisted of a narrow-band spectral power distribution, and had no high-energy wavelengths (UV to blue light) within their spectrum. Although outdoor LED lighting can mimic the correlated colour temperature (CCT) of a sodium lamp, it is quite rare to see an LED light source that eliminates high-energy wavelengths within its spectrum.
Human beings have been using incandescent light sources at night for thousands of years. Fire, torches, candles, oil lamps, gas lamps and later with the invention of electricity, incandescent light bulbs. Our introduction to artificial UV and blue light is very recent. We have received shorter wavelengths of light only from the Sun, during daytime. And during all those years we have developed an internal clock that is regulated by light. But we are not the only occupants of this planet we live on.
Plants and animals have been exposed to artificial blue light very recently. And just like humans, there are insects, animals and plants who see, eat, hunt, emigrate and live according to the patterns of day and night-time. Imagine the impact those LED lights make on nocturnal beings. Are they really ready for this change? Can they adapt to these newer technologies as fast as the industry has? This shiny world is polluted with light, and we only get a quick glance of it, since we are too busy finishing exterior lighting projects with purely aesthetic purposes. This blurred vision of ours is preventing us from seeing the size of the impact we are making to our environment. The damage that light is capable of doing is real, what we believed to be a saviour is like to kill what we promised to protect. Yet, what if the environment is not the only one who is suffering so secretly and silently?
Have you ever felt a sneaky headache after spending hours in a shopping mall or had trouble falling asleep after a long session on social media? How about that feeling of laziness and sluggishness when you spend too many days at home without even going out? All of these situations of discomfort are caused by the rapid evolution of lighting technologies that have invaded our daily lives. It is not only the animals, insects and the cities that are hurt; but we have been suffering from unpleasant lighting conditions just as much.
New technologies of LED lighting have occupied each and every corner of our lives, without leaving a doubt of their benefits. However, our body has developed a rhythm that generates hormones according to the changes in the quality and quantity of light, in that case natural light.
Hormones do not only impact how well our body physically functions, but they also have a direct impact on our mood and psychology. Only a small portion of concerned experts and designers are familiar with the principles of white light distribution from LED light sources and the amount of blue light that they consist of regardless of their CCT. This Trojan Horse, blue light, is sneaking through every little crack it finds into our lives; not only from light fittings, but from smartphones, tablets, and other types of screen.
As lighting designers, it is not quite realistic to attempt to alter the screen habits of society, but at least we can understand and teach multiple aspects of good and healthy lighting. One important aspect of understanding good lighting comes from expanding its definition, and not limiting it only to light that our eyes can see. The benefits of proper lighting do not only serve the wellbeing of the globe and individuals, but also the wellbeing of society.
Back in 2018, alongside my 22 classmates at the Architectural Lighting Design Master’s programme in Wismar, I had an unforgettable experience in a city called Neuruppin, located north-west of Berlin. We took part in a lighting workshop that had aimed at illuminating multiple locations around the city. When we arrived at the city centre, it was very quiet, maybe because of the October weather. Our group of lighting designers started working in the woods, illuminating trees, the lake, and other landscapes. We were quite far away from the city centre, yet still visible from the city’s beautiful promenade. We worked near the lake, had multiple detours between the centre and the woods for equipment and food and saw very few people here and there throughout the workshop.
The lighting installation was complete after a couple of days, and we started gathering out in the cold for the celebrations. Only then a few locals started to appear and celebrate with us. There was one single road nearby where only a few vehicles had passed by in the last few days. But a few hours after the lights were on, people started to gather around our installation, with an impression on their faces that showed how amazed and thankful they were. Some even showed up with some cups of tea and coffee and biscuits just for us to enjoy. Until that hour, we were positive that not a single individual was even aware that we were in Neuruppin, experimenting with light. But quite magically they appeared from nowhere, thanking us and caring for us. This was the moment we realised the power of light, bringing people together, bringing joy and amazement to their lives. We talked, cheered, and celebrated together as if Germany had won the World Cup! Perhaps it meant much more to the locals of Neuruppin. The power of light on our society is undeniable and the outcomes can be tremendous when it is used properly. During these times of disconnection and desolation, light is a beautiful tool to help us come back together and collaborate for a “brighter” future.
Just like Clarisse, my intention was not to bring something new to the table, but to remind you that there is already plenty on it. Not only the lighting industry, but the whole world has been suffering due to this ridiculous speed at which everything has been done: massive projects being completed in weeks or even days; quantity being prioritised by designers; quality, depth and meaning getting disrespected and considered as inefficient have been the norms of a welcomed lighting design process. I would like to recall three aspects; global, personal and social wellbeing, that every lighting enthusiast should prioritise in their projects, products, conference talks and catalogues. Let’s slow down for a while, rub our eyes, and take a look around. We have so much power, yet we tend to waste it by constantly accelerating with everything we do. Let’s remember what we are capable of, considering we possess the most overpowered tool ever invented!
Designers Mind: Communication as Empathy
Designers Mind contributor Kael Gillam discusses how taking an empathetic approach is integral when communicating new workplace boundaries and practices.
In the last several years, there seems to have been a quiet acceptance of the sentiment that we feel more alone the more connected we are. We have more and more tools to communicate, to share, and to learn from one another, and yet depression rates and social anxiety look to be on an ever-increasing upward trend. The pandemic, climate change, political crises, and so many more widespread events have made novices of us all in trying to navigate ‘the new normal’.
It was a concept that I think many of us looked forward to; a better, shinier world where we all got along because we had been through the thick of it together and we’d all learned something about ourselves and the way that we want to treat one another. Perhaps it’s just my interpretation, but the sheen seems to have worn off quickly and we’ve devolved back into old habits. I am still getting emails late at night, demands for meetings with only an hours’ notice, and I am still tempted to ‘just do a bit’ on the weekend to get myself ready for a busy week ahead. Are unreasonable working hours and an always-on mentality part of my new normal, when they were a part of my old normal that I fought so hard to shed?
We’ve spent much of the last two and a half years at Designers Mind talking about how boundary setting is at the core of so many of our wellbeing practices. Boundaries have many layers to them, but at their core level are simply an agreement to stay true to a commitment. ‘I will not work on the weekend’, ‘I will set aside half an hour every week for my passion project’; these are just examples of non-negotiables that we can set for the benefit of our wellbeing.
Other people accepting these boundaries can be an onerous task. Accepting that our boundaries are different from others’ can also be a challenge when we prioritise different things in different aspects of our lives. We’ll get back to that.
Communicating these boundaries – and having the confidence to stick with them – can also feel challenging and uncomfortable. How, after years of working with an employer, can you one day walk up to them and find a way to tell them you’ll no longer be answering emails after your working hours? How do you communicate to a new employer that you have familial care demands that take priority in your life without feeling like you might lose your job for not looking ‘as committed’ as colleagues without those demands? We can never predict how another person might respond to our needs, no matter how well we know them or feel that we have prepared for the situation.
Practising empathy is key to both boundary setting and communication. It is perhaps one of the most valuable transferrable skills we can take away from our collective human journey over the last two and a half years. Empathy is a difficult skill to teach; some of us are innately more sensitive to the emotional needs of others whereas some people find it truly impossible to intuit implied meaning and feeling. Whether a challenge or not, being an empathetic communicator is about putting aside your own needs, personality, and emotions to understand the whole context of what’s being communicated to you.
For example, we can begin asking ourselves how to approach these conversations with ‘how is this person doing in their life?’ rather than ‘why are they bringing this up now?’, and ‘what might have brought this to their attention?’ rather than ‘I don’t care about this, so why should they?’. If we start to frame conversations in the context of other people’s needs and wants, then we can better begin to understand why they are raising an issue, calling a meeting, or sending emails at ungodly hours.
When we do receive these confounding requests, we can practice framing our responses in a way to de-escalate the situation and come to a mutually beneficial solution. For example, to a last-minute meeting request: ‘I’m terribly sorry, but I’m unable to make a meeting on such short notice. Can you please let me know what the urgent actions are so I can take them away and we can set up a meeting to discuss at a mutually beneficial time?’ You’re setting a boundary (my time is precious and should be respected) but also acknowledging their internalised urgency and offering to help (I hear your need and will work to understand it better).
In tandem with this introspective approach is being diligent about the energy of the response matching the energy of the prompt. Unreasonable responses to reasonable requests are, unfortunately, altogether too common in the fast-paced design world. Replying-all and copying in the Managing Director when you’re upset with an email never solved a deadline dispute. Demanding to speak to someone’s boss instead of working through an issue collaboratively never produced a good design package. When we receive negative and disproportionate responses to our communication, we then must practice empathy to de-escalate the situation. What part of what was said might have triggered this response? Is it what I’ve asked or is it any number of things happening in the person’s life that has driven them to make a quick, rash, and/or unproductive response to my query? Would this be better resolved over the phone, so I can speak to them less formally to get a better picture of the presumed conflict?
If done with patience and a bit of grace, boundary-setting and practicing empathy in communication should make our interactions both in and out of work easier and more enjoyable. When we learn to take a step back and evaluate our own needs and the needs of those around us, we can find common ground and agreements more quickly than arbitrarily digging our heels in on our own principles. We can figure out why the deadline matters, how to prioritise tasks, and who in our team is most capable at any given point in time. Yes, this is all an exercise in patience and kindness. Being a good communicator, truly listening to people, is difficult work that is never truly complete.
David Morgan Review: GVA Lighting STR9 Gen 3
Building on the success of its previous iterations, GVA Lighting has unveiled Generation 3 of its STR 9 linear system. David Morgan gets stuck into the new model.
Thinking differently about luminaire design is an approach that should be encouraged in the architectural lighting market. Too many companies produce derivative designs that are difficult to differentiate from their competitors. One company that does stand out for being different is GVA Lighting, based in Oakville, near Toronto in Canada.
The company was founded by Vladimir Grigorik in 1997 within a few days of arriving in Canada as an immigrant from Belarus, where he had become disillusioned with the political regime. Grigorik is an electronics engineer with a degree in Radio Physics and Electronics, and he has used this expertise to develop a range of innovative LED-based luminaires for use in challenging environmental conditions. The company has grown over the past 25 years and now employs around 140 people.
Grigorik, now Chairman and President of GVA, still leads the new product development process, supported by an in-house team of designers and engineers. All electronics, including drivers and light engines, are designed and assembled by GVA in the company’s factory, with mechanical components being sourced locally.
The company exports to many major architectural lighting markets including the USA, EU, and the UAE.
The first LED product developed by GVA in 2002 was a simple LED linear strip for use in a US library project, named the STR1, and that simple naming strategy has continued up to the current STR9. The current product range includes linear luminaires and projectors for both interior and exterior applications.
One of the key innovations that GVA has introduced to the architectural lighting market is the high voltage Infinity system. This system operates on 380 volts DC with a remote power supply and on-board LED constant current drivers. This system allows luminaire runs of more than 300-metres from a single power feed and data source. These long runs allow the exterior of tall buildings, bridges and other large structures to be lit with the minimum cabling runs and building penetrations. 380VDC is becoming an accepted power rating for use in data centres and from renewable sources, and thus is helping to reduce the available component costs for this approach. The system was first proposed in 2010 as a custom solution for the exterior linear lighting of a 300-metre-tall tower in Canada, and has been further developed for use on a wide variety of iconic projects.
The latest product introduction from GVA is the Generation 3 of the STR 9 linear system.
The STR 9 was first introduced in 2007, so it is not exactly a new product, but the existing and new design features make it worthwhile reviewing. The STR 9 is an extruded linear lighting system designed around 45mm diameter colour mixing lenses which, in combination with a series of optical films, produce very well blended colour changing, tuneable white light and mono white light outputs suitable for close offset wall grazing applications. The range includes both surface mounted and in-ground versions.
By combining colour mixing lenses with optical films, a wide variety of beam angles can be produced, ranging from a narrow 5° symmetric up to 80° symmetric for the mono white. The range also includes eight different elliptical distributions. For the mono white version, the available colour temperatures range from 2200K up to 6500K. Lumen output from this version is up to 3,700 lm/m with a maximum power consumption of 50W/m.
The lumen output from the colour changing versions is enhanced with the GVA Colour Amp system, and provides more than 2,000lm/m with a power consumption of 66W/m. Colour Amp is another GVA point of difference where the power of each colour channel is controlled in a ratio to the maximum luminaire power. For example, if only the blue LEDs are lit then these can be run at the maximum luminaire power. As other colours are added to the mix then the blue power will be reduced so that the combined power equals the maximum for the luminaire. eldoLED drivers offer a similar control feature but only a few other luminaire manufacturers seem to have adopted this idea so far.
In the RGBW elliptical sample that I tested, the colours were well blended when the luminaire was positioned very close to the lit surface. A variety of anti-glare accessories are available, including external louvres, integral micro louvres, and integral honeycomb louvres. One unusual accessory is a heated front glass, which is used in cold climate projects to melt snow accumulating on the luminaire.
Dimming control for colour change and tuneable white versions is via DMX with DALI and 0-10V being offered for the mono white types. For colour changing luminaires, every 300mm can be controlled independently with four DMX addresses for colour chasing and other dynamic effects.
The new version of the STR 9 is available in three different power supply options. 48 VDC, the 380V DC Infinity system that I have already mentioned, and also with a new integral line voltage driver option.
The drivers built into the STR 9 luminaires not only incorporate thermal sensors, which integrate with a thermal control system to ensure that the LEDs always operate at the optimum temperature, even in very high ambient conditions, but also pressure and moisture sensors are included so that any deviations from expected values would generate a fault alarm.
Mechanically the STR 9 is also differentiated from the way that other manufacturers produce exterior linear luminaires. The body is made from extruded aluminium, but rather than screwing machined or die cast end caps to the extrusion to achieve an IP66 rating, GVA machines the extrusion to create a solid one-piece body with integral end caps – branded Unibody. The low iron tempered glass window is bonded directly to the body using a proprietary adhesive.
The combination of the one-piece body and bonded window gives a highly water-resistant enclosure that allows GVA to offer a standard warranty of five years, that can be extended up to 10 years. It is understood that there are projects in the Middle East that have been in service for well over 10 years without any failures, although of course the lumen output will have depreciated over this period. This construction does not allow the light engines to be replaced on site at the end of life and currently the luminaires would need to be returned to Canada for servicing. Future generations of the STR 9 range may incorporate onsite replaceable light engines to fit into a more circular economy model.
In the meantime, the long and reliable working life of the GVA luminaires is also a significant way of minimising carbon footprint, as their products need to be replaced less often.
The STR 9 range is impressive, with a high quality of engineering and several design features that are not offered by other luminaire companies. It will be interesting to review future developments of the range.
GreenLight Alliance: Code of Practice for luminaire remanufacture
Tom Ruddell, Lead Remanufacture Engineer at EGG Lighting, provides guidance on how a code of practice for the remanufacture of luminaires can help the lighting industry shift to a circular economy.
Remanufacture is an industrial process that creates a new product from used and new products or parts/components. Lighting equipment has always been changed, modified, fixed, converted and everything in-between. Yet while other industries such as electronics, automotive and others have well-established and well-defined circular economy processes built into their industries, these models are still at the periphery of the lighting industry.
As the lighting industry starts offering not only upgradeable fittings but developing the capabilities to do so alongside traditional manufacturing models, we will need generally understood terminology and processes to successfully bridge the gap to the circular economy.
At the end of 2020, a group of lighting industry professionals formed around the idea of writing a standard that would do just that - and offer the industry a general process for the remanufacture of luminaires, building on existing best practice in the BS 8887 family of standards.
Motivations
Why are we so enthusiastic about remanufacture and circular processes? In the context of a climate crisis remanufacture is a critical technique – it can reduce cost, reduce waste, reduce carbon, and improve performance – all at the same time.
Luminaires are complex assemblies and cleaning, shredding, and recycling them is energy and resource-intensive – so keeping components in their finished condition can save a lot of waste and carbon. Take the example of a cast aluminium housing – it’s clear that blasting and re-coating will entail less embodied carbon than making the component again from scratch. Remanufacture also tends to shorten supply chains – shifting the focus away from importing finished goods and thereby reducing transport emissions.
Remanufacture also goes hand-in-hand with technology upgrades, which is crucial in the lighting industry. Replacing outdated lighting components with today’s technology, and re-investing cost savings derived from reusing components means that remanufactured products can be better than new. This means remanufacture can be a force for reducing energy costs, improving lighting quality and delivering connected lighting – while offering an alternative to scrapping entire lighting systems and starting again.
Variety in all ways
Around 40,000 tonnes of lighting equipment is placed on the UK market alone each year – a massive amount. The variety therein is so vast that no single approach could encompass them all – so the committee has taken great care to ensure the standard will be as widely applicable as possible. We’ve considered an exhausting range of remanufacture scenarios – from heritage products to barely-used LED fittings (for example Class A fit-outs or trade shows), warranty returns, manufacturing rejects, emergency conversions, damaged products, lighting with failed control systems, lighting installations needing to adapt to a change-of-use – and the list goes on.
The committee has also been careful to consider different remanufacture models. While remanufacture is traditionally conducted at an industrial facility, we recognise that lighting can and will be remanufactured wholly or partly ‘on-site’ or even in temporary or mobile workshops. The same goes for business models – ranging from OEMs remanufacturing own-brand fittings inhouse or through third party operators to independent remanufacturers – we may soon see the development of markets for remanufactured and used components. Being open to and aware of all these options will encourage innovative circular approaches, specific to the needs of our industry.
Compliance
Compliance is a key consideration at all stages of remanufacture and is certainly the most-discussed topic by the committee. How do you ensure a remanufactured luminaire is ‘compliant’ and suitable for CE or UKCA marking? What is the implication of remanufacturing on-site? How do you deal with variety in product condition? These are the challenges that remanufacturers will need to build into their processes, considering the use-case, known (and unknown) product history, the quantity for remanufacturing and other factors to determine their approach.
Some of the considerations dealt with by the standard include luminaires where manufacturer identification is integral to the construction, assessing compliance changes since the equipment was originally placed on the market, non-destructive testing, hazardous materials that may be present in the luminaire and compliance of reused components.
In many cases these are not simple discussions, and the objective has been to provide a framework of guidance now, which won’t prevent the industry from innovating and developing new circular economy processes and methods in the future.
About the Standard
This process standard is within the “8887” family which already has a kitemark programme and a history of use in other industries. It is not a design standard and won’t instruct “what” to do, only guidance on “how” to go about doing it.
It will probably initially be published as a code of practice, allowing the industry to use the process while giving space for learning and improvement as the state of the art develops. This standard has been in drafting for about a year and a half and will soon begin the process of formatting and editorial, supported by an expert from the BSi, to dot the i’s and cross the t’s. Committees overseeing relevant and related standards will be contacted for comment before the standard will be made available for public comment.
We hope this will play a part in helping the lighting industry offer robust and high-quality remanufacturing models and embrace a common language. Anyone interested in sharing ideas or becoming involved in this voluntary work should contact the Committee Manager Sarah Kelly (Sarah.Kelly@bsigroup.com). Now, over to you!
Remanufacture routes and considerations:
Original Luminaire Manufacturer (OEM) Remanufacture
• Ideally there should be planned remanufacture stages from initial design stage.
• May be able to build this into a commercial agreement with customer.
• Should hold valid design documents for the product and thus able to accelerate reverse engineering process.
• If remanufactured to original specification, they can retain original product designation.
• May have spares / components available if this is an active SKU.
• Must be aware of regulatory changes since original build and have compliance methodology to reflect that.
Independent Remanufacturer
In many instances original manufacturers may not be equipped or prepared to remanufacture their own fittings.
• Third party Original Equipment Reproduction businesses (OERs) develop a specialism for remanufacture, meaning they can assess and remanufacture a variety of products.
• Third party OERs may be working at lower volumes or with greater variety of products than OEMs would be.
• OERs may develop specialisms for certain types of product or even specific products.
• OERs may offer remanufacturer as a service to the OEM (i.e., the end user may not consult directly with the OER, but through the OEM)
• OERs often in contact with a client for a specific site remanufacturing project, where there may be multiple products from different manufacturers. A single OER may be better able to deal with this situation.
On site intervention
Feasibility of this route likely to be dependent on factors relating to the site.
Products specifically designed for on-site remanufacture will facilitate this approach. Many products, however, will not be suitable.
• Reduction in transportation of fittings is likely to reduce cost, carbon and pollution.
• Sub-assemblies may be selected or designed to suit client needs and fitting specifics.
• Assessment of fitting’s condition integral to strategy. Contingency for deeper repair/replacement.
• Prior compliance assessment should be done on a representative sample fitting. Final testing on all units essential.
• BS 60598 Annex Q electrical safety tests cannot be conducted without suitable mobile test facilities.
User/owner upgrade
• Clarity where liability rests.
• Not likely to receive warranty.
• Installer competence level.
• Is the luminaire accurately assessed for suitability with the off-the-shelf retrofit product?
Buy back schemes
• An effective way for manufacturers to prove their commitment and trust in a product.
• Should result in an incentive for manufacturers to remanufacture and re-sell products.
• Buyback rather than remanufacturing for a site can overcome issues with lighting downtime and turnaround time for the remanufacturer.
• Manufacturers need to keep good analysis on the circular outcomes of these processes, because buying-back products isn’t the desired outcome, but a tool.
Definitions
The EU’s ESPR (Ecodesign for Sustainable Products Regulation) definitions give an interesting preview of how EU policy makers see this topic. It is a proposal for a regulation establishing a framework for setting Ecodesign requirements for sustainable products and repealing Directive 2009/125/EC. A consultation period allows specific industries to make comment potentially for changes to better suit theirs e.g., lighting. In it are several helpful definitions:
• Remanufacturing - industrial process in which a product is produced from objects that are waste, products or components and in which at least one change is made to the product that affects the safety, performance, purpose, or type of the product typically placed on the market with a commercial guarantee.
• Upgrading - enhancing functionality, performance, capacity, or aesthetics of a product.
• Refurbishment - preparing or modifying an object that is waste or a product to restore its performance or functionality within the intended use, range of performance and maintenance originally conceived at the design stage, or to meet applicable technical standards or regulatory requirements, with the result of making a fully functional product.
• Maintenance - an action conducted to keep a product in a condition where it is able to function as required.
• Repair - returning a defective product or waste to a condition where it fulfils its intended use.
Office for Visual Interaction
With the company celebrating its 25th anniversary, arc sat down with four of the Project Managers from Office for Visual Interaction to discuss its design principles, its ethos, and what the future holds.
2022 marks the 25th anniversary of Office for Visual Interaction (OVI). Founded in New York by Enrique Peiniger and Jean Sundin, the studio classes itself not just as lighting designers, but as “philosophers, storytellers and tailors who identify the essence of a project and craft designs into vivid architectural metaphors”.
Over the past 25 years, the company has worked with a broad array of high-profile architects on projects around the world, including a longstanding collaboration with Zaha Hadid Architects.
To commemorate OVI’s landmark anniversary, arc held a roundtable discussion with four of its Project Managers – Markus Fuerderer, Wendy Jiang, Monica Llamas and Ramy Makhaly – to find out more about what makes the studio unique.
With a background in architecture and product engineering, Fuerderer joined OVI in 2007 after meeting with Peiniger and Sundin during a previous role at Erco. He recalled: “It was really interesting to me how OVI worked with light and space, coming from an architectural background where you only really work with matter, and the product side where everything is tangible and touchable. What light does with that, as far as perception, was and is my main passion.”
Originally from China, Jiang has always had a passion for art and architecture, and completed her Bachelor’s and Master’s degrees in Architectural Engineering at Penn State University. During her time at university, she met Fuerderer at a careers fair, and later interviewed for an internship at OVI. “During the interview, I got to know a lot more of what OVI does, see a variety of projects, and through those projects see a nice combination of art and engineering, which is what my degree and passion was in,” she said.
“From there, it was a no brainer for me to take the opportunity for the internship, and then after that I came back full time after graduation in 2016.”
Makhaly first joined OVI in 2013, having recently completed his Master’s in lighting design from New York School of Interior Design. Born in Egypt, Makhaly studied Interior Architecture at the American University in Dubai before moving to New York. It was during his Master’s that he met Sundin, as he explained: “Jean was one of my judges on my thesis presentation, and was the only judge that I had a design-driven conversation with. Then I saw OVI’s projects, and my eyes grew wide – I was fascinated by the idea of working with world renowned architects that I had been dreaming about and learning about all through my interior architecture degree.
“That drew me in and I’m grateful that it did because during my first week at OVI, I was working on changing the façade of one of my favourite architects of all time just to allow space for lighting. I don’t think I would get that opportunity anywhere else, it’s very special and unique.”
Finally, Llamas is the most recent recruit to OVI, joining the team in 2019. Like everyone else, she came into lighting design through a background in architecture, having gained a degree in her home country of Guatemala. “That’s where I first encountered this fascination for lighting and realised the infinite opportunities it offers within a space and for the human experience,” she said. “It’s such a unique way of still being in touch with architecture, still being in touch with my first love, and the ever-changing quality of light that never ceases to impress me.”
This led Llamas to shift from architecture to lighting, completing her Master’s degree in Lighting Design at Parsons School of Design in New York. Having practiced as a lighting designer in New York for several years, Llamas was approached by OVI after being recognised in the 40 Under 40 North America Awards in 2018. “I had a really enticing conversation with Jean, talking about our interests in design and lighting and the time flew by. That immediately sparked an interest in the office. I already knew the projects were great, I knew the work that they were doing, but it was that conversation with Jean and seeing how passionate she is about design, her thinking behind OVI and the value that the studio carries on through the project that drew me to join – it was an opportunity I couldn’t let pass.”
Within OVI’s team, there is a very diverse, multicultural mixture of designers from around the world, each bringing different interests and perspectives. It’s something that the project managers believe to be of benefit to the firm as a whole. “It’s one of our core strengths, the different backgrounds not only in fields, but also culturally,” said Fuerderer. “We bring together an understanding for the cultural context, but then also really different interest focuses, where I think we all really work well together across all stages – everybody can do everything.”
“Learning from one another, we get to understand the culture of different parts of the world, and that’s really valuable,” added Jiang. “We like to pick each other’s brains on different perspectives, different ideas, and eventually we will infuse those shared perspectives in the design as well. That’s what makes this collaboration and the design process quite interesting.”
Llamas continued: “OVI is a common element that brings us together, but bringing our own personalities and our own upbringing is what makes the interaction so rich. It’s much stronger than if we were all from the same mould or had the same perspective or way of thinking.”
“It’s such a melting pot of everything, we’re able to touch everything in the world. It’s nice to learn from everybody’s experiences; whether they’ve worked somewhere or they’re from somewhere, whether they have specific projects somewhere, all of these affect us in the big picture,” Makhaly concurred.
To this point, the team acknowledged that their broad scope of backgrounds can give them an inside track on international projects. Makhaly continued: “Even just knowing the visitor experience in those countries – because we don’t always have the opportunity to visit sites and locations before projects – knowing the space, knowing what people who live there do on a day-to-day basis, what they experience, what they expect, what the cultural aspects are, all of these aspects are very valuable to us.”
“It’s not so much that you have to be informed about a specific space or place in the world – because of our background, there is a sensitivity to it,” Fuerderer continued. “If you don’t know it, you’re sensitive to it and you might ask certain questions that someone else might not. We have a lot of fun with those conversations.
“It’s not only about the project, it’s as much as we learn from the process and the projects as well, and that goes into the next project, the next discussion. That sensitivity of culture is something that we actively develop and evolve.”
Llamas added: “Because we come from different contexts and different cultures and different backgrounds, we are also receptive and able to fine tune what we’re saying, how we’re saying it, and what we’re bringing in order for the team to be open and welcoming of those ideas as well.”
Makhaly continued: “The design principles that Jean and Enrique set up from the beginning, even though we all come from different places, somehow, we all share the same design principles. That’s how we’re able to provide an OVI solution that will always evoke a cohesive feeling across all projects, even if the projects look different or have different needs.”
Following on from this point, Fuerderer agreed that he feels the overarching philosophy or ethos of OVI has remained consistent in his time with the studio. “I feel it’s not so different from the very beginning,” he said. “We’re really focusing on a story, a message, and that’s consistent throughout our projects; it’s what connects the visual portion to the architectural vision of the shape or form. That’s a thread that runs from the early projects all the way to the latest competitions.
“Something that is also very important is how this message is translated into the actual building, because you can have fantastic ideas, wild concepts, but if you can’t manifest those into reality, they’re just fantasies. That’s something that is part of the philosophy – finding a storyline that is clear and concise, then finding ways to build that and incorporate it into the project needs.”
“It’s about finding that essence,” Llamas added. “A space can be many things, but what is its essence? How will it be lived in? How will people interact with it? How are we able to translate that into a story with light that people can experience? It’s what enriches every one of our designs and makes them unique – each space has a story to tell and we’re able to dissect that and tell it through light.”
In a similar vein, Makhaly added that for him, it’s about the emotion that the designers are trying to create. “Jean told me something in my first week, she said that lighting is like a magician’s touch. We have the ability to create magic, because without light you can’t see architecture, so we have the opportunity to paint with light.”
Jiang continued: “A lot of the time, people don’t tend to realise lighting is the element that makes the space sing and makes you feel and create emotions. That drew me to lighting in the first place – being able to play with that “invisible” fabric and curate memorable moments.
“We want to make a magical moment, but we also need to be realistic and work with the rest of the team. It’s never lighting dictating the design, but lighting complementing the architecture, working with all disciplines, and finding ways to achieve both the stability that you need, and those magical moments.”
“If people feel good in a space, but they don’t know why, that’s the magical part,” said Fuerderer. “We try to achieve this in our spaces, but for me, maybe this is my lighting geek side, when somebody feels well in a space and we start to understand why that is, there’s a fascination. And the moment you start to understand it, in a way that becomes even more magical to me – although I understand how it works, it’s the intrigue of the thought process to get to that result.”
In their quests to make moments of magic, the team has worked on a number of high-profile projects during their tenure at OVI. Examples cited include local New York projects such as 520 West 28th Street – ZHA’s first project in New York, the Reimagine the Canals project along the Erie Canal in upstate New York, and the collaboration with Foster + Partners on Apple’s Fifth Avenue store. Looking further afield, projects such as the Lululemon headquarters in Vancouver, Canada, in which Jiang adopted biophilic principles so that the lighting contributes to “the healthiest workplace in the world”; the phenomenal Al Wasl Plaza at Expo 2020, a project that pushed Makhaly to “learn more about media and dynamic lighting”; and the King Abdullah Petroleum Studies and Research Center (KAPSARC) in Saudi Arabia, which due to its parametric design, Fuerderer explained as being “very different from the traditional ways of how I understood architecture”.
Although each project varies greatly in scope and style, the team discussed the idea of there being a connecting thread that links each project to one cohesive narrative. “There is, but not in a way that you would put a red beacon on all of our projects,” said Fuerderer. “It’s more like the way we treat light to attribute character, to give an identity. We work with so many different architects and design teams, they all have their own unique styles, but also respond to their environment, to their clients. The same is true for us, it’s more about how we respond to those pieces. That’s the common thread, which goes back to storyline.”
Llamas added: “We see light as a material, it’s not something that we are introducing to a space as an object to illuminate, but it’s another layer of material that we are able to work with and mould to the space’s needs. We won’t ever have a catalogue to show clients what they’re getting, but we will shape and work and tailor the design, so that each of the spaces are responding and have that seamless integration with light, that’s when you find the magic moment.”
“I 100% agree, and I think the common thread typically comes on principle and methodology, how we approach to design spaces with light and how we can curate the experience, appreciate the architecture and the materiality more, without even noticing lighting doing too much work,” continued Jiang. “We’re constantly trying to research what is the next thing in lighting that we can infuse into design and bring fresh perspectives to a space. Perhaps it’s a new way that light can interact with a material, or perhaps it’s how lighting can change the way people normally see a space. Rather than just the static experience, but how we can bring dynamic experience and interactions to a still space.”
The search for the next thing in lighting leads the conversation on to what the future will look like for OVI, what the next thing in lighting will be and how the company will change in the coming years.
“There’s nothing as constant as change, so we have to keep changing,” Fuerderer enthused. “The changes are coming from the needs of our clients – we adapt to that. Certainly, there’s a handful of challenges; we are living in a time where we have limited resources in terms of energy and materials, so we want to be very careful with that. At the same time, we have incredible tools to work with to almost forecast how these systems work together.
“We’re looking at a future where idea creation is almost starting to get artificial intelligence in use. But how do we translate that back into the real world? It’s an exciting time, and we have some really radical ideas from competitions that we’re working on, so there’s a lot to learn and develop around that.”
“The challenges that we encounter on projects are ultimately going to lead us into forward thinking, into new solutions, new collaborations and discussions around design,” added Llamas. “Whenever we have a connection or invitation to be part of a new project, that’s where our minds are blown in terms of ideas that we can implement, ways that we can innovate, and ways that we can interact, but it’s always related to the conversations that we’re having, and keeping in mind that we want to be conscious of the environment and the resources that we’re using.”
Jiang added: “It’s something always triggered from interaction, whether it’s internal or external. Those are where we collectively think there could be a better way forward.
“We’re trying to outreach to some schools either here in the US or in China; Jean and Enrique led a lecture in China for a university with a lighting engineering programme, and our studio also participated in some of the lessons. It has been interesting not just hearing what our peers in the industry are thinking about, but also the next generation, what they’re looking to learn. That is also a channel for us to share our experience with them.
“That said, looking at things that are not just related to lighting gets us inspired a lot of the time, just to take a moment outside of it to see some outside elements – whether that’s from nature, from art, things like that give us new inspirations that we think can be translated into a lighting moment.”
However, with changing technologies, Makhaly is keeping an eye on how this may impact on client demands. He explained: “Because we’re so responsive, it’s all going to depend on the client. More and more with the technologies and tools that are available to us, the sky’s the limit – and I don’t say that in the best way; sometimes that can be great because you can do anything you want. But that can also be, for somebody like the end user, not so great because they can do anything they want.
“We almost become gatekeepers or protectors from the beginning of the design process to think about the future of cities, the future of landmarks, the future of sky lines. How is lighting going to impact that, and what is our project, in relation to other projects in the next 20 years, going to look like? Are we going to be OK with that in 10, 15, 20 years? Are we still going to be proud of our work or is it going to look dated? All these big picture ideas and thinking forward is where I see change and evolution, because we’re always trying to think forward.”
As for the next 25 years, the team were in agreement in the hope that OVI will continue to push boundaries and create inspiring lighting projects. Makhaly continued: “It’s about the people. So long as that focus remains and the team keeps growing and flourishing and has the same design thinking, the same principles, with room for individual interests to flourish, then I have nothing to worry about, I feel like we’ll always be going ahead.
“There’s something very beautiful about the name Office for Visual Interaction – it’s not just lighting design. It’s not specific to just lighting design, architectural lighting, it’s about creative work, creative thinking, visual interaction with materiality, with nature, with so many aspects.”
Llamas agreed, adding: “I see us pushing the limits. We don’t provide solutions that are from a template or are repeated from project to project. Pushing the limits and the boundaries in that creative way, that responds to the projects that we’re dealing with and people that will be inhabiting those spaces, it’s certainly already an exciting place to be because we will continue creating beautiful narratives for spaces as we’re evolving as a team and a company.”
“I couldn’t say it any better,” said Jiang. “It’s very open ended in that we don’t really have an exact answer. We will keep doing what we’re doing, but as it moves along there will be new things that we explore through each other, through technology, through the research. We’ll keep incorporating those into our design process and see where that brings us.”
The last word though, went to Fuerderer, who concluded: “There are a lot of things on the rise that are truly radical. For example, the next iteration of what we did with KAPSARC, the parametric design. This is the next evolution of that where parameters are connected to the variables of the environment and have real-time input of shaping the building geometry and materials. We will be a lot more responsive to the context – not only from a performance perspective but also aesthetically. That’s where I think a lot of significant changes will come from, and ultimately shape our future and culture as a whole, it’s a really exciting direction.
“As far as our view internally at OVI, the goal is to continue to be on the forefront of developing that, together with our architects and clients. I’m looking forward to pushing this direction for OVI, alongside our like-minded team, like all of you. So, for the foreseeable future, that’s what I see.”
We’ll have to check back in with OVI in 2047 to see how correct they were.
Marci Song & Momena Saleem
Meeting through the Silhouette Awards’ mentorship programme, Marci Song and Momena Saleem share similar career paths that have seen them travel the world. Speaking with arc, they discuss their multicultural backgrounds and the importance of having a mentor.
Last summer saw the launch of the Silhouette Awards; a new awards programme that was designed to shine a light on emerging talent within the lighting industry.
With a goal of offering support to young professionals, the awards honoured up and coming talent, and as part of this recognition, paired them with established designers for a six-month mentorship programme.
The winners of the inaugural Silhouette Awards, and their newfound mentors, were revealed earlier this year; one such partnership saw Momena Saleem paired with founder of SEAM Design, Marci Song (aka Amarasri Songcharoen).
Although the initial aim of the mentorship scheme was for senior designers to “nurture young talent and help likeminded individuals benefit from their own personal experiences”, it wasn’t long before Song and Saleem realised that they had a lot more in common.
Song and her family emigrated to Jackson, Mississippi from Thailand when she was a child. After completing a BA in Art History at a local liberal arts college, she got her Master’s in Architecture at the University of Pennsylvania. From here, she worked in New York and Boston, before moving to London in 2005; following a four-year stint at another lighting design practice, she established SEAM Design in 2009. Within architectural lighting design, SEAM has worked on high profile projects around the world, in more than 30 countries across five continents, with the likes of Zaha Hadid, Foster + Partners, AL_A, BIG, and Buro: Ole Scheeren. Despite this varied scope, Song believes her core interest is rooted in architecture. “I’ve always been an architectural designer first and lighting is my medium for creativity. Our roots are strongly embedded in architectural design, perhaps we see ourselves more as design agents in lighting for our architects and clients.”
After setting up her own practice, which she now runs alongside husband and co-director Emory Smith, Song explained the overriding ethos that permeates through each of their projects: “We have an analytical and research-led design approach,” she said. “Each project has unique qualities, characters, needs, requirements, and design. It is our job to deconstruct those aspects of the project and reassemble a finely tailored design approach to re-design the lighting brief.
“As an undercurrent to all of this, something that Emory brought to SEAM from his time at Harvard, Pritzker Prize-winning architect Alejandro Arevana once said, ‘the worst thing you could do in design, is to solve very well the wrong problem’.”
Through all of this, Song hoped that SEAM would be a studio with a positive, welcoming work environment that can foster creativity. She explained: “At the beginning of my career, and possibly still today, I didn’t see a true integration or appreciation of lighting as a design and construction material that shapes space. This was something that interested me back then, and still interests me today.”
The idea of being a role model and creating a nurturing environment is also particularly important for Song. She continued: “I also wanted SEAM to be a great place to work – highly collaborative, creative, and driven. I wanted to create and maintain a healthy and nurturing work environment. In highly competitive markets such as London and New York, you hear stories, and sometimes experience very toxic work environments, and I did not want SEAM to be that.”
Even if it was never in a formal mentor-mentee setting, there were influential individuals in SEAM’s early years. Song explained: “When I was first starting SEAM stateside, there was a good friend and former schoolmate from Penn – Mark Gardner, Principal of Jaklitsch/Gardner Architects and now Director of the M.Arch programme at Parson’s New School of Design, who gave me my first lighting project opportunity, the Taiwanese Consulate in Manhattan. He also coached me on contracts and professional practice, having taught a course on it at Penn.
“I should also mention Friedrich Ludewig, Director of ACME, who let me rent a desk in his studio and coached me on how to set up a practice in London; and Alvin Huang, Principal of Synthesis – Design + Architecture, and now Director of the M.Arch programme at the University of Southern California. When we shared studio space, he encouraged me to be brave and market myself more via connections and social media, which helped me maintain a company during the Great Recession.”
Song was keen to get involved with the Silhouette Awards and put herself out there as a mentor for others. “This is one of the many ways I can give back to the lighting community, through something that I did not have myself when I was a young professional.” she said. “I have been a mentor for a number of young professionals and design students. It felt natural to take on this role and challenge in the lighting design industry.
“Especially during and after the pandemic, designers need more support. Even seasoned professionals need more support. Mentorship exchanges are platforms that allow people to zoom out and take a moment to assess at a bigger picture. Even outside of the pandemic, these platforms are essential to allow for people to course correct with guidance and support.”
It is through this platform that Song met Momena Saleem. Originally from Pakistan, Saleem’s career to date has seen her graduate with a Bachelor’s in Interior Design from the Institute of Design and Visual Arts in her home country, before moving to Italy to complete her Master’s degree in lighting design and LED technology from Politecnico Di Milano. From here, Saleem completed a certified course in architecture from Harvard Graduate School of Design in the USA, which she said, “nurtured my interests in understanding the power of light in the world’s exemplary buildings”.
During her Master’s, as part of a professional training module, Saleem moved to Istanbul, Turkey, for an internship with ZKLD, where she was able to hone her skills as a lighting designer. She worked on some of the monumental lighting projects in her native Pakistan; alongside this she has carried out global activities as a Women in Lighting Ambassador in her region to educate and spread awareness about the lighting design profession. In 2020, Saleem was named one of the 40 Under 40 award winners, which recognises emerging talent within lighting design. Now, she works as a lighting designer on a range of projects in collaboration with Worktecht and Co, which has offices in Japan, Taiwan, Hong Kong and Africa.
This means that despite a relatively short time in the lighting industry, Saleem has lived, studied, and worked across the world – something that has become a lot easier in recent years. “Since the pandemic, the world has evolved and we developed new ways of working,” Saleem said. “I’m living in Pakistan but most of my team and projects are based in different countries. Being part of a remote workforce for international projects is a bit of a challenge, but I always try to find the best strategies to coordinate with my team on a day-to-day basis.”
Saleem added that while working across the world, in a range of cultures, each with different approaches and attitudes, may be daunting for some, she feels that it has been of great benefit to her career to date. She explained: “The most powerful influence on my work has been my multi-cultural background.
“I was born and raised in Pakistan, got my education in Europe, travelled across the Middle East, and spent the past couple of years working on projects mainly in the Asia-Pacific region. The whole experience has taught me that life is richer and more vibrant when cultures collide. The benefits of learning and working in diverse cultures has had eclectic influences on my design approach. The journey has been inspiring in every way – it helped me build the strength, connectivity, understanding and respect of cultural values in each region.
“Lighting design as a concept is shaped by the cultural aspects, social values, the way of living. The meaning of light itself varies in different cultures, it’s narrating a different story in a different setting or event.”
Song, in her time working in the Far East, US and UK, shares Saleem’s view on the concept of lighting design differing across cultures. “What I have found is that there are differences of interpretation – what is lighting and what value does lighting bring to a project?” she said. “Furthermore, how to master light and usher its shape, design and meaning, through different regional and cultural interpretations, into reality. It’s highly nuanced.”
Understanding these nuances and navigating different cultures is something that Song has had to do for most of her life, since travelling back and forth between Thailand and Mississippi at an early age, and while she acknowledges that it hasn’t been easy, she said that she has learned to adjust over time. “Growing up in dual cultures, you never really ‘fit in’,” she said. “I guess you could say that I learned to be comfortable with being uncomfortable.
“Identity is multi-faceted and complex, which at times can feel at odds with one another. I had to ask myself how I turn the ‘contradictory’ to the ‘complementary’. For me, this was not just aspirational, it was also survival, particularly in business in a competitive field. This awareness also makes me a highly empathic designer and collaborator.”
Song also acknowledges, “having lived, studied, and worked in several places has enabled me to read subtle nuances of different places and cultures, which has better prepared me to work globally.
“Momena and I have talked about the ‘Immigrant Condition’ – how there can be social anxiety around feelings of displacement. When you go from one school to another in your home country, that’s already a level of displacement. To then bring in the bigger picture of environment, culture, language, it can be very overwhelming. You have to adjust yourself into another culture very quickly to acclimatise.
“For example, in Momena’s case, when she went from Pakistan to Milan to study, there were many hurdles and obstacles to overcome to be part of that academic environment and be productive in your learning. And through her work with Worktecht now, she’s had to learn a whole new culture in a pandemic, through Zoom, to work with a company in Tokyo.
“Minorities – gender, race, nationality, or any ‘other check box’, generally have to work harder to prove themselves. My ‘check boxes’ have made me the professional I am today. Going the extra mile is my default mode,” Song continued.
“It’s natural, especially in design, for people to come at you with levels of skepticism, especially if they don’t know you. One of the reasons and drivers behind starting up SEAM was that I wanted to create a place that was all about the designs, where ideas could come from anyone, it’s a collaborative effort.”
However, through both Song and Saleem’s experiences, the pair have recognised the importance of strong, effective communication in easing the levels of skepticism.
Song continued: “A lot of people in this field travel a lot and work on international projects. Through our work at SEAM in different countries, it’s interesting to see how people communicate, whether it’s visual or verbal communication, it’s how we collaborate on projects and come to the table together.
“When you are the one coming from another country, you have to work harder to figure out how to communicate and collaborate. Those that are the majority don’t necessarily have that pressure. As a minority, there’s a careful consideration, particularly when sharing strong opinions – there’s always fears of negative pushback or retaliation.
“However, something Momena brought up is that it’s interesting to see how there is a really beautiful synergy in communication and collaboration between different people of different backgrounds. It’s one of the unifying factors of design – it’s such a great field to bring people together and to bring creativity together.”
Saleem added: “We have to shift gears, and we have developed a lot of resilience to those unexpected pushbacks, sometimes cultural and sometimes social. The way to overcome all these challenges is through hard work and by developing your skills in collaboration and being more communicative, through this you learn a lot of things.
“Although it comes with all those challenges that we face, it still has its own beauty in dealing with people and developing our design approach, you end up understanding people and the design better.”
With their respective multi-cultural backgrounds, it wasn’t long before Song and Saleem noticed similarities in their career paths. These similarities helped forge a strong mentor/mentee connection, although Song explained that this wasn’t the intention to begin with. “At the beginning of our mentor relationship, it wasn’t focused on this; I was asking Momena how she was getting on with work, where she was in her position with her career, how she navigated the pandemic, etc,” she said.
“But we talked about how she has gone to all these different places, and then back to Pakistan, which doesn’t have a lot of lighting representation, and how she is adjusting to working with Worktecht.
“Japanese culture is very different to Chinese culture, Taiwanese culture, and other Southeast Asian countries, so you’re already having to adjust – that’s very complex when you just want to learn how to be a good lighting designer and project manager. It’s not of Momena’s choosing, it’s just what she has come into. It’s interesting because in any career, you face bosses that are not from your culture, and you have to figure out how to help them help you; it’s the kind of exchange that you have to face as a junior or young professional, and it’s all part of professional growth.”
And Saleem added that, through this process, she has gained a valuable insight from her partnership with Song. “We had a couple of sessions together that helped both of us to navigate how we have come to our position and where we are going. There was a lot to learn from Marci through her experiences, it was like a look into the future, which was really helpful for me to see that things can go even better. There are ups and downs both personally and professionally, but we can still find that balance, and that keeps you going. To hone your skills, to bring value in projects and give the best you can, it’s a process that takes a lot of learning. We’re both still working on it and getting good outcomes as well – there have been great rewards.
“I will always be thankful to Marci for walking with me on this incredible journey of learning, exchanging our knowledge and experiences. Not only has she been a fantastic mentor to me, but she has helped me to understand the process and ways of developing myself and my career, what strategies can be helpful in achieving my goals, and at the same time finding the balance in managing my own expectations. Marci has shared her experiences and what she learnt through her years of working in the industry; her wisdom has reframed my perception towards life in a very positive and impactful way. Each mentorship session was like taking a step forward in my career. She inspired me to work hard and be patient.”
Song added: “Momena and I have talked a lot about the lighting profession and a lifetime of learning. We’ve also talked about patience and managing expectations, and about the importance of communicating with your team – particularly managers and seniors – and to be an active participant in your own professional development. I give the same advice to our junior staff who may move on to other companies and teams. If they are not active in their own development, their agenda will be defined by someone else, and it may not be a path they have chosen. It has been through this mentorship programme that we can have these candid conversations.”
Indeed, following the success of their partnership through the Silhouette Awards, both Song and Saleem have encouraged young designers in the industry to look for mentors and other support programmes – something that the lighting community can readily provide.
“To all the young lighting designers, there are so many great initiatives that keep you whole, and remind you that we are all together and we will make it through; even if you’re young, it doesn’t matter, we can go a long way together. This is the best part of being in the industry,” said Saleem.
“As a young designer, I find myself very lucky to be in the industry, to be connected with everyone. During the pandemic also, it was great to be connected to so many different parts of the world – it was overwhelming, in a good way. Even now things are going back to normal, there are still ways to help keep us connected.”
Song concluded: “After 20 years in the industry, it is nice to see some of these barriers coming down for the younger generation. Speaking out, showing pride in your heritage and valuing diversity are becoming more commonplace.
“It’s a great time for people to get into lighting now. It is becoming a more well-known field – there is a lot of support out there for young designers, and with the current environmental crisis, lighting design can play a really important role in making the built environment more sustainable and adaptable; it is no longer a luxury, but a necessity.”
www.silhouetteawards.com
www.seam-design.com
www.worktecht.com
Ben Baxter & Ruth McDermott
Australian light artists Ben Baxter and Ruth McDermott have released a new book - Between Dark & Light, reflecting on their unique relationship of artistic collaboration and demonstrating some highlights from their 13-year career. Here, Baxter and McDermott sit down with arc to discuss the inspiration behind the book.
How did you meet and begin working together?
We met at the University of New South Wales in Sydney through the Industrial Design course. We started looking for opportunities to collaborate on urban renewal and pop-up installations in Sydney. When the chance came to participate in the first Vivid festival, we applied together.
Is there a philosophy behind your work?
Our work tends to come from our experiences living on the east coast of Australia. From this we tend to explore ideas around landscape, beach, water, rock, and the natural environment. We were inspired by British artists Gilbert and George, who use their everyday life as the basis for their practice. We often talk about artists that inspire us. Caravaggio for light and shadow, Matisse for colour, Dan Flavin for his absolute simplicity and ease, the scale and ambition of Christo and Jeanne-Claude. We are inspired by light itself but also darkness and treat each with equal importance. We like the romance and sensuality of light, particularly as it interacts with materials, be they shiny, glittery, textured or diffuse. The darkness adds richness and mystery. Place is a key feature of our work and often influences ideas or direction for future work while in situ at the site. Where we locate our work is paramount to a successful installation and we divided these hierarchies for all the projects in the book by their type of location – waterside, urban, landscape and interior. Each special typology has its own challenges and characteristics.
Why is light art so important for the urban environment?
Light art is the jewelled necklace to a little black dress. It creates a sense of surprise and embellishment to the experience of spaces, and adds a layer of discovery, even fantasy, to the public realm. Light can add an extra dimension and make people see the space differently. It adds to the activation of public space – it can make the experience of cities richer, more fun and safer.
What was the inspiration behind the new book?
We wanted to document the evolution of light art, light festivals, and the use of LED technology through our own personal experience. But more personally, we wanted to explore the dynamics of collaborative art practice. We felt that there was very little unpacking of how this process of artistic collaboration actually works. We structured the book to talk about how we were inspired to create each piece and the process of realising the final light artwork – an often complex and torturous process. We also add our individual viewpoints; we both have post-graduate degrees associated with lighting and one thing we found with our studies is there is surprisingly little written about lighting and very few books around the subject. We wanted to give a voice to the medium we love.
How did the opportunity come about?
Ruth did her PhD in lighting at UTS (University of Technology) in Sydney, and Ben studied Landscape Architecture there. We had both taught at the institution in Industrial Design. Ruth approached their publishing arm, UTS ePress, who publish peer reviewed books and journals and they were interested. They felt that the connection between technology and creativity that underpins light art suited the university’s aim. That was the beginning, however, it has been a four-year process – through pandemic and changes of staff. We feel fortunate that they have persisted with this.
What is your ambition for the book?
We wanted to share the journey we have had over the past 13 years – we were part of something incredible at the start of the LED revolution where the technology started to change the way we could use light in urban spaces. This innovation offered new opportunities for artistic practice. We hope people are inspired by our ways of developing work – we have tried to unpack our process as much as possible and also describe our collaboration. We have always brought something different to the table and this is explored in the book.
Where do you see light art going in the future?
A history of light art is discussed in one of the chapters of the book, exploring how the medium developed as an artistic practice from the early days of Baroque spectacle to work in the 21st century. It was fascinating to see how new lighting technologies have contributed to innovative artistic explorations. Currently, we are seeing a growth in the use of LED tubes that rely on the rapid changing of hue and saturation of light to create impressive effects. We wonder if this more kinetic art, not really celebrating the romance and emotional effect lighting can have, dazzles rather than engages the viewer. The challenge for artists using new lighting technologies is to create work that has a degree of beauty, wit or intrigue, evoking an emotional response and creating a connection with the viewer.
Between Dark and Light is available online at www.doi.org/10.5130/aak, with hard copies available at www.au.blurb.com/b/11251977-between-dark-and-light
Clark International Airport, Philippines
One of the main transits in and out of the Philippines, Clark International Airport has recently undergone a large-scale renovation. Lighting for the new-look terminal was designed by local studio Light Plan Inc.
Situated to the north of Manila, Clark International Airport is one of the main transits in and out of the Philippines. Originally opened in the mid-90s, the airport is currently undergoing a widescale development, with four new terminals expected to be opened by 2025. As part of this ongoing work, Lead Architect Populous and Architect of Record CASAS Architects recruited local lighting design practice Light Plan Inc to develop the lighting for the new-look terminal.
Light Plan Inc has prior experience working on airports, having recently completed the Mactan International Airport (also in the Philippines), and the Indira Ghandi Terminal in India.
Jinkie de Jesus, Principal and Founder of Light Plan Inc, explained the original design brief, and how this shaped the lighting design approach. “The brief had several technical considerations, such as complying with Singapore Chiangi Airport standards, LEED certification, and to produce a lighting plan that is energy efficient and easy for maintenance,” she said.
“For the design, we had free reign, but the client wanted to set themselves apart from Mactan International Airport. Taking to heart the brief, and getting to know our client – a consortium among Chiangi Airport and two local developers, Robinsons Land and Filinvest – their vision and aspirations for the terminal set the tone for our lighting design approach.”
This approach was built around two key words – sustainability and showcase. “Being one of the most affected countries by global warming, we aimed to minimise energy consumption by using the minimum number of lights possible to do the job,” explained de Jesus.
“In a local culture where bright equals good, we wanted to impart another approach where we do not need to light excessively for a space to look and feel good.
“We also wanted to create a passenger terminal that would be a showcase or role model for how airport lighting should be in the Philippines. “Airports like this are rare in the Philippines – most of the terminals are substandard when it comes to lighting, and we have the opportunity to create something that can bring pride to the Filipino people, and to convey the message that we can do better. Sadly, we have relaxed and come to accept inferior design, work, or products. Our design inspiration comes from rejecting this culture. We put our minds and hearts to providing the best lighting our budget can allow.”
To adhere to its sustainability requirements, Light Plan Inc listed a set of strategies for the lighting, such as establishing a minimum distance between light fixtures, the idea being the further away, the better. Setting a cap of a distance of three metres meant that they could reduce the number of fixtures needed.
With energy efficiency a priority, the designers also needed to be stringent on compliance. As such, only the highest lumen per watt fixtures were considered, with advanced optics also key to get the light where it needed to be. Longevity was also a consideration, with fixtures chosen that would last, while maintaining proper lux levels beyond five years of operation.
However, de Jesus explained that with these requirements came a number of challenges. “For the arrival corridor, where we had a staggered arrangement of linear lights, we had to go through several rounds of layouts and calculations to ensure that we would still comply with the uniformity values, regardless of their playful arrangement,” she said.
“In the departure hall, as the fixtures were mounted at varying heights, we were concerned about the intensity and distribution of light on the floor, so we specified drivers with dip switch presets and established different intensities depending on the mounting height of the fixtures.”
The specification process, de Jesus added, also proved to be a challenge for the designers. “In the Philippines, it is common that a client will ask for value engineering and alternatives to the original specifications. But as we were designing for sustainability, only the best products in the market could technically comply. In the end, we still went with the majority of these base specifications, since we saw that the inferior products could not do what the higher quality products could. It was good as we had the opportunity to educate our clients and colleagues. Communicating your design and the rationale behind it is as important as designing itself. If we did not get to properly convey the design and specification, the final outcome would not have turned out this way.”
One of the major focal points for the new-look Clark International Airport is in the departures hall, where vast, vaulted wooden ceilings creates a church-like quality. “We wanted to uplight the large wooden glulam arches to showcase the warmth of the wood and the scale of the cathedral ceiling,” de Jesus explained. “It is a simple method, but because of the repeated pattern created by the light, it had a grand effect.
“After several schemes were presented and budget considered, we went with 2700K narrow beam projectors on either side of the arch so the passengers can see the effect regardless of which direction they are facing. The warm colour was perfect for the shade of the wood and contrasted with the 3500K general lighting.
“The pattern created by the lit arches is stunning, as you see different lighting effects as you move into the passenger spaces. Another layer of feature lighting is the reflected light of the general lighting softly and uniformly washing the whole ceiling. When we were doing our design and calculations, we wanted to create this soft blanket of light that would be visible and appreciated from the outside of the terminal.”
The decision to opt for a general CCT of 3500K came after a series of mock-ups, in which the designers tested a variety of colour temperatures. “We thought about how to best illuminate the terminal so that it looked good, and also how to light up the passengers, so they look and feel good, and found that 3500K was the most flattering to the interior finishes and people’s faces - ideal for selfies,” de Jesus continued.
“Tasks and transactions could also be carried out comfortably under this colour of light. The prescribed lux levels were just right at 300 lux. Some international standards would have lower values, but since this is the Philippines, 300 lux is acceptable for functionality, but also not too bright that it will cause finishes to be washed out.”
The need to create an environment where passengers feel good was of great importance to the lighting designers, particularly given how stressful and hectic airports can feel. This is something that de Jesus has recognised in other airports within the Philippines, and was keen not to replicate. “Traveling itself can be stressful and we see that the airport process and environment can contribute to the stress,” she said.
“Ninoy Aquino International Airport in Metro Manila was named the world’s worst airport from 2011-2013, and has continuously been in the top 10 for the past few years. For Clark, we wanted to change the narrative in all aspects and for the lighting we wanted passengers to feel relaxed and happy going through each space and process.
“The selection of lights with a good glare cut was specified. Not too high as the space would look like a hotel, but also not flushed to the ceiling that it would glare. We had the Chiangi guidelines that touched both on horizontal and vertical illumination. Having that good balance between horizontal and vertical lighting also helps make the passengers feel comfortable.
“We avoided high colour temperatures commonly found in our airports in the Philippines and only specified within the range of 2700-4000K. We closely studied which colour of white would showcase the cool tone finishes of the terminal that used blues, greens, and greys. We also wanted to make the space photogenic for passengers.”
Indeed, it seems that there has been a conscious move throughout the project to make an airport that felt different to others in the country. “Clark Airport feels elegant, but at the same time, straightforward,” de Jesus added. “Apart from the departure hall, all other areas only have general lighting, no further accents or embellishment, but even in the absence of accent lighting the terminal still looks great.
“It feels elegant because the lighting is not excessive and is only provided where it is needed. There is a subtle play of contrast, so the finishes are brought to life. It is a combination of simple high-quality finishes lit up with proper lighting. The space looks put together and each lighting point is deliberate. Not many airports locally have that kind of approach of a well thought out lighting scheme, and I think this is how Clark differentiates itself from the rest.”
The efforts made to differentiate the airport have contributed to a successful end result. Looking back, de Jesus reflected on the project’s outcome. “Our team is happy and our client is happy; we cannot ask for more,” she said. “During the last few weeks leading up to the inauguration, the site was still buzzing with last minute work. We were there in the evenings and when all the lights were turned on, our team was very excited since we knew that it would look great.
“We also like that through lighting, we found a way to differentiate Clark from its older twin, the Mactan International Airport. Both airports are spectacular with their unique light identity.”
It is a view that de Jesus believes is shared among travellers and locals alike passing through the airport – a relief for the designers, who hoped that the lighting would enhance the traveller’s journey. “The light and architecture are united – we went through a lot of detailing work to integrate fixtures everywhere possible,” she said. “The lighting is there to support and highlight the architecture, not overpower and take the attention away from it.
“Through lighting, we aim to enhance and elevate the passenger experience by providing the right light for the required function and showcasing the space. Besides our client, our customers are the passengers arriving and departing Clark, and through the lighting we can help them navigate through the space with ease.
“This terminal was a pet project of past president Rodrigo Duterte, and with its opening we saw a sense of pride in the country. Lighting may be a minor part in the whole scheme of things, but I believe it contributes to something that brings pride and joy to Filipinos.”
CapitaSpring, Singapore
Intended to be a new urban oasis in the heart of Singapore’s Central Business District, the CapitaSpring building is a remarkable blend of architecture and greenery. Lighting design firm Nipek sought to use light to enhance both the building itself and its verdant plant life.
Designed by Bjarke Ingels Group (BIG), in collaboration with Carlo Ratti Associati, CapitaSpring is a mixed-use high-rise commercial building situated in the Central Business District (CBD) of Singapore that includes offices, serviced apartments, a Hawker Center, restaurants, and public spaces, including two gardens and an observatory deck..
Standing at 280-metres, it is one of the tallest buildings in Singapore, and was designed to redefine and elevate workplace and living standards, while adding an elegant new landmark to the skyline.
Intended to offer an oasis in the heart of the bustling financial district, the 93,000sqm, tech-integrated and verdant skyscraper has transformed the site of a former car park complex, built in the 1980s.
The building’s exterior façade consists of vertical elements that are pulled apart to allow glimpses into pockets of greenery at the base, core, and rooftop. This dynamic interplay of orthogonal lines and lush plant life is presented in the contrasting textures of steel and glass, interweaved with tropical vegetation.
On entering the building, visitors are met with a public rainforest plaza, and the City Room – an 18-metre-high, open public space at the foot of the tower. At the core of the building, between the hardscapes of the offices and the residences, are four connected levels of “organic softscape”, called the Green Oasis – a 26-metre, open air garden for work, relaxation, exercise and events.
The lighting design for this monumental new building was delivered by Singapore and Japan-based lighting design firm Nipek, in collaboration with building owner CapitaLand
Nipek’s scope for the lighting design covered all parts of the project, from the exterior façade and landscape, to public spaces, office lobbies and other common areas. Takahisa Yamaguchi, Associate at Nipek, explained further: “The lighting design team was tasked to provide timeless, elegant, and energy-efficient lighting schemes for the project.
“For the façade lighting, after many rounds of studies and exchanges of ideas with the architects, the lighting concept of ‘focusing on the greeneries as the project’s unique feature’ emerged. It was to celebrate the Oasis in the heart of the city.”
A key part of this urban oasis is the abundant greenery visible within the façade of the building. As such, Nipek sought to use light to highlight this unique feature of the building.
Yamaguchi continued: “The greenery visible through the openings in the façade is an iconic element of CapitaSpring. The façade lighting focuses on highlighting this greenery, which can be found in the form of green pockets on the lower floors and the Green Oasis.
“Lit trees at night express the uniqueness of the façade, and the greenery in the crown contributes to the beautification of the CBD skyline at night.”
Inside, public spaces embedded in the office tower provide a relaxing environment for office workers, with light and shadows on the floor and ceiling created by illuminating trees, but also create an inviting atmosphere that feels like being outside, while being inside the building.
To bring this concept to life, the type of lighting fixtures, and particularly the colour temperature of said fixtures, was carefully chosen. This was of particular importance when it came to highlighting the façade details. “The key matter was how to make the green pockets on the façade stand out against the background interior lighting without making them obtrusive,” Shigeki Fujii, Principal at Nipek, said.
“It was difficult for the trees embedded in the façade to stand out at night from the deep green trees typical of tropical Southeast Asia if simply illuminated with usual white light. Therefore, we came up with the idea of mixing pastel green coloured lighting with 4000K white light to emphasise the green in a subtle way. It was almost to create an illusion that the greens are livelier and fresher after dark with a lighting trick, without making it too obvious.”
As part of the façade lighting approach, one of the major considerations for the lighting design came with the podium level and parking floors, and how their night-time appearance would impact on the overall look of the building; the Urban Redevelopment Authority (URA), the Singapore government agency responsible for urban development, required that the lighting at the car parks on the podium levels would not negatively affect the visibility of the building façade at night. “Because the car park levels are surrounded with perforated façade panels that can become almost transparent at night, it could allow passersby to see the ceilings of the car park levels from the nearby streets,” Fujii continued.
“It was therefore necessary to consider whether the entire façade of the podium would appear evenly illuminated and not adversely affect the green pockets. The aperture ratio of the façade screen was precisely designed by BIG; an actual scale mock-up was made and Erco’s excellent glare control downlights installed in the parking lot. The fixtures along the façade are shielded on one side, and are not visible from street level outside.”
A core focal point for the building’s interior is its vast, 18-metre-high lobby space. The sheer volume of such a space presented a lighting challenge to Nipek, but Yamaguchi explained how this enormous space was brought to life. “The challenge was to showcase the high ceilings and different materials on the wall surfaces,” he said.
“The striking polished red travertine walls are lit from above by Erco’s linear wall grazer fittings concealed in the ceiling coves. The board-formed concrete panels on the core walls are entirely illuminated by Erco’s high-ceiling wallwasher downlights, so that the entire wall can b e seen from outside the lobby. These considerations, along with the contrasting brightness of spotlights on the floor, create a sophisticated and modern office lobby.”
Topping the building is the Sky Garden – the tallest publicly accessible observatory deck in Singapore. The 51st floor garden offers a panoramic view of Marina Bay, and also doubles as Singapore’s highest urban farm, producing fresh produce for the building’s restaurants. Lighting here was kept at a low level so as not to disturb the viewer’s perspective of the city’s nightscape, reducing light pollution in the process. To keep continuity from the car park level façade, there are pockets in the rooftop façade where trees are highlighted. Elsewhere, the minimal lighting comprises strip lights integrated into planter kerbs, and decorative bollard lights. The pathway and landscape are also rhythmically illuminated, contributing to a pleasurable walking experience.
CapitaSpring has achieved the Building and Construction Authority’s (BCA) Green Mark Platinum rating – one of the highest green building ratings in Singapore, as well as the BCA Universal Design Mark GoldPLUS Award for its landscaping. Yamaguchi explained how lighting helped to contribute towards these ratings. “It was necessary to reduce overall power consumption for the lighting fixtures in the project, but at the same time, it was necessary to create the lighting environment expected by the client.
“To achieve this, a comfortable contrast was created by clearly defining areas and elements that should be illuminated, and those that should not. This not only reduced the number of lighting fixtures and their power consumption, but also emphasised the lighting concept by providing visual contrast.”
Fujii added that throughout the design process, Nipek worked in close collaboration with BIG. “We were given freedom, but they did not just leave us to it,” he said. “Instead, they were great collaborators who gave us clear visions and inputs. We worked in tandem with them to determine how the lighting fixtures would fit within the architectural language.”
In close collaboration with the architects, this remarkable project quickly became a new landmark in Singapore, grabbing the attention of people within the city. Reflecting on the project, Yamaguchi shared his thoughts on the overall design: “The lighting of the trees with a mixture of white and the green colour from the optical lenses accentuates the liveliness of the trees more than expected, and the shadows of the white and green leaves that appear on the soffit create an interesting look.”
He concluded: “The lighting not only provides the necessary brightness for the space, but also emphasises the architectural concept by creating visual hierarchy at night with the lighting design.”
Mojang Studios, Sweden
At the newly renovated headquarters for video game developers Mojang Studios, Reform used light to create an inviting and altogether more homely environment.
Swedish video game developer Mojang Studios, best known as the producers of Minecraft, has recently undergone an expansion and renovation of its Stockholm offices as part of its continued growth and expansion.
Local designers at Reform were brought in to spearhead the renovation, updating the office space to create a more inviting working environment, including the lighting design.
Beata Denton, Lead Lighting Designer at Reform, explained: “A strong theme was to enhance the internal staircases, to make them central, as a nave between the floors, with light, sound and plants.
“We had workshops with representatives from the different competencies within the company; they wanted better lighting than what they had, specifically regarding adjustability both in workplaces and in meeting rooms. Some of them even considered the lighting to be more important than the interior design.”
These workshops led to the creating of a design concept that was built around key words and phrases – friendly, playful, practical, with no office feeling, while injecting some fun. “We wanted the right light in the right place at the right time as a starting point,” Denton added.
Throughout the office space, the working environment was designed to meet high standards in terms of lighting, acoustics and accessibility, creating peace of mind for staff working there. A key part of this was to make the lighting controllable and individually adaptable, so that the user can influence their own lighting environment.
Denton explained: “Since a lot of the work is done on computer screens, creating graphics for the Minecraft world, we wanting to give staff the possibility to switch off direct lights. There are suspended linear lights that are controllable, such that two opposite desks use the same light. This is a more costly solution than what would be needed for less sensitive colour and graphic related tasks and workplaces. But it is always important for the individual to be able to adjust light levels, with dimmable general light in zones over larger work areas, combined with controllable desk lights.
“In shared workspaces, the desk light is usually the most relevant solution to personalised lighting. Who otherwise would decide on the light levels for 20 individuals with different eyes, ages and preferences?”
Another aspect that Reform wanted to bring in was an element of surprise, particularly in the communal, transition areas. Denton continued: “Passages and cloakrooms have recessed low lighting in walls as opposed to light from above. The breakout areas and lounges are important relaxing spaces, where coming from the artificial world that they are creating, they instead want the real and tactile materials, soft lighting, and a cosy feel with warm light at 2700K.
“The central staircases were given a feeling of surprise and life by integrating moving lights. In the smaller spiral staircase, we mounted a projector with an animation wheel creating an image of slowly moving water in a blue/green colour. The image is projected on the ceiling of the restricted space; this works well with the space and becomes a feature, making climbing the stairs more relaxing and dreamlike.
“The bigger staircase in the main lobby was already in place, constructed of black steel with open steps. We had the back side clad with living moss, into which we integrated fibre optics to give an illusion of dew drops glimmering in the morning sun.
“In the main conference room, we wanted to add some natural and harmonious feelings, rather than the traditional conference feeling. We chose an organically shaped suspended fitting, of course dimmable with scenario settings, and combined this with accent lighting onto curtains all around the perimeter of the room.
Within Mojang Studios’ offices are social “Hubs” located on each floor. Alongside coffee bars and meeting areas, the Hubs act as specific “magnets” to make people want to explore and move between the floors. These include a games room complete with billiards and arcade games, multi-function rooms for workshops or yoga, a sound studio, and creative labs.
“The Hub is centrally placed in the building, without any direct daylight,” Denton explained. “We created a ceiling above the main touch down table, with tunable white light to suit individual preferences or the time of day. Mojang’s graphic designers designed a Minecraft cloudscape print for the diffusor – square and rectangular clouds as opposed to round ones.”
While the Hub takes some inspiration from the blocky, modular aesthetic of Minecraft with its light box ceiling, Denton added that Reform shied away from taking a similar approach with the general lighting throughout. “Other than in the Hub, we felt that the light would rather enhance the design, which is in shapes inspired by the modular graphics, not so that the lighting itself had to imitate the modular concept. The design guidelines also give more direction towards the friendly, homely but still striking lighting design.”
The move to create a more “homely”, informal lighting scheme was very much a conscious decision on Reform’s part, and ties into the initial concept approach of creating a space unlike a “traditional” office.
“Our interior designers worked closely with us in every part, we were creating the space together with regular internal workshops and meetings to bring the mood and atmosphere to life,” Denton added.
“The workspaces are totally to the highest standard technically, as well as the individually adjustable lighting. Another very important design choice was that all work desks for more permanent use are located by windows. This adds to the comfortable, homely feeling while being beneficial to health and wellbeing.
“The building itself is stunning, a striking old brewery made of brick with tall chimneys. It sits right on Lake Mälaren, looking out at the city hall right across the water, this gives a special relationship to natural light from basically all rooms. Its massive walls give a certain robust and characteristic feel to every corner of the space. The interior design enhances and uses this with the design of custom-made seating by the windows, and little alcoves with integrated lighting.”
Throughout the workspace, architectural lighting is offset by decorative pieces such as pendants and wall sconces. As with all of her projects, Denton was keen to ensure a harmony between the architectural and decorative elements. “We always say that all the lighting combined creates the lighting of the space we work with,” she said. “We try to abolish the division between ambient and decorative. That often leads to doubling up on lights, which is really wasteful, so we create the lighting with every fitting as an integral and equally important part of the scheme.”
This approach has led to a design that is warm and welcoming – a far cry from the typical scheme one might expect in a workplace environment, but one that will be of great benefit to all staff and visitors.
Great Sutton Street, Conran and Partners Studio, UK
When architecture and interior design firm Conran and Partners moved to its new premises in Clerkenwell, London, it called on Into Lighting to develop a lighting scheme that enhanced the “hospitality” feelings of intimacy and cosiness.
Architecture and interior design firm Conran and Partners has recently moved to a brand new headquarters in the heart of Clerkenwell, London.
Designed by the studio itself, the move sees Conran and Partners relocate its 70-strong team from its longstanding headquarters in Butlers Wharf – where it has been based for more than three decades – to a new, two-storey workspace that has been transformed into a creative hub in London’s key design district.
Following the passing of its founder, Sir Terence Conran, last year, and the global pandemic, the move to a new premises is part of a wider recalibration for Conran and Partners after a period of rapid evolution that included the expansion of its international reach with the opening of a Hong Kong studio in 2018. To coincide with the relocation, the studio has also undergone a rebrand, with a new company look that it believes “better reflects the ethos and design principles of the practice today and into the future”.
Situated on Great Sutton Street, Clerkenwell, the new studio occupies the ground and lower ground floor of an existing building. The two floors are connected at each end by double-height spaces and crafted steel staircases, which not only physically connect the spaces, but also allow natural light to penetrate to the lower floor.
The feeling of fluidity is enhanced further by organising the workspaces with as few impenetrable barriers as possible; meeting spaces that span across the width of the floors are formed of large, fluted and antiqued mirror glass panels, with wide, full height sliding doors that maintain sightlines through the depth of the spaces when open, and appear as translucent screens when closed.
The entrance was also kept deliberately understated – rather than being greeted by an imposing or intimidating reception or waiting area, on arrival guests are welcomed into an open reception space where they can immediately see from one end of the studio to the other, with an assortment of activity between, and also down to the level below, courtesy of a large light well and open staircase.
While natural light penetrates from both ends of the studio, a great deal of attention was also paid to the lighting landscape as a whole. As such, Conran and Partners worked closely with Into Lighting and MEP Gloster S-Worx to design the natural and artificial lighting for the space, with the aim of using light to enhance feelings of intimacy and cosiness.
Darren Orrow, Director at Into Lighting, explained how the collaboration began: “Into have worked with Conran and Partners on many projects over the last 10 years; to be asked to collaborate on the lighting design aspect of their new offices was a fantastic opportunity, one we knew would be challenging as the space was to be their new home, so it had to be right,” he said.
“With Conran and Partners acting as architect and interior designers on their own headquarters project, they had a very strong vision for the interiors and lighting. The lighting aesthetic and ambience was to be more hospitality than workplace focused – their vision was for the architectural lighting to be integrated into the interior architecture as much as possible. Where possible they wanted the architectural light sources to disappear, while providing appropriate levels for the different functions of each space.”
As such, Into Lighting worked with the architects to develop an architectural lighting concept that used concealed, low-glare fixtures where possible. A warm white colour temperature of 3000K was used throughout – dropping down to 2700K in integrated shelving and display details – providing a more hospitality feel.
“Conran and Partners really understand lighting and have an extensive knowledge of light fixtures, so the concept was developed around knowledge sharing favourite light fixtures, analysing performance criteria and working out how best to integrate fixtures into the interior architecture,” Orrow continued.
Alongside the warmer lighting, the use of timber throughout adds to the hospitality aesthetic. Blond oak flooring with birch ply ceiling battens softly reflect light and highlight the sense of unity and fluidity throughout the space. In contrast, the flank walls and shelving are constructed out of dark stained poplar ply, while fluted bronze glass panels and screens create additional texture but lift the space through light reflection.
The architects also considered the acoustics of the new workspace; these have been designed to be muted to the extent that open plan discussions can be heard, and a creative buzz is present without being overbearing. To do this, a black acoustic fabric is stretched above the ply ceiling battens to absorb noise disturbance, while also screening off ceiling services and adding to the visual and acoustic calm of the space.
However, Orrow explained how the extra acoustic treatments created some unexpected difficulties for the lighting. “Covid and associated lockdowns meant face-to-face meetings during the design stages were not as often as we would have hoped, and when you can’t be hands on as a team with samples and mock ups it is challenging to work out practical and discreet fixing methods to integrate light fixtures into concealed details,” he said.
“The acoustic treatments made this more challenging, and fixing details had to be carefully engineered to avoid any penetrations. Space was tight, fixtures and fitting methods had to be adapted and cable routing and connections re-engineered.
“Gloster S-Worx, were very proactive in helping explore all avenues and assisting with mock ups to ensure the desired discreet install and cabling of light fixtures could be achieved.”
Across the workspace there are no cellular offices, no division between teams and no hierarchical seating arrangement – a mixture of seating and desk space is provided, including dynamic sit-stand desks with a combination of desk lights and screen bars, to give each team member the tools they need to adjust their workspace throughout the day. Meanwhile meeting spaces offer a variety of environments suited to different ways in which the team can come together; from a traditional board table to more intimate spaces, relaxed sofa areas, a ‘snug’ and a double height ‘theatre’ space at the heart of the studio.
While this creates a varied environment for staff, Orrow explained how the lighting caters to the different requirements of each space: “To help differentiate the spaces, the designed light levels throughout change accordingly to create contrast – the transitional spaces and breakout areas are illuminated to a lower light level to help create a cosier ambience, with the lighting then ramped up as you move into the workspaces and meeting rooms to achieve a good level of functional illumination.
“The fixtures within the transitional spaces are also concealed as much as possible, with low glare light sources to keep the ceilings clean, the suspended linear profile lighting within the workspace provides direct/indirect, which throws light onto the ceiling to help lift ambient light levels. Areas such as sample rooms were designed with specific colour temperatures and beam angles so that material samples can be viewed correctly under both daylight and warmer light.
“Where we have exposed fittings, such as the linear profiles above the working area, the fixtures were specified to ensure the diffuser provided a homogenous light effect with no distracting features.
“The design intent was for the architectural lighting to be sympathetic to the interior design and materiality, and to see and feel the light effect rather than the light fixture to provide a space with suitable light levels throughout, but also creating the correct ambience within each specific area.”
Offsetting the architectural lighting, decorative lighting fixtures were handpicked by Conran and Partners. “Some came from their original office, and some were sourced new,” Orrow added. “The decorative lighting formed an integral part of creating a hospitality look, feel and ambience to the spaces.”
As an architecture and interior design studio, Conran and Partners is often described as “lifestyle designers” with an “aim to design for living, whether that’s for work, leisure, socialising, eating, playing, sleeping, etc.” This ambition can be seen by the firm’s new offices, and Orrow is hopeful that the lighting design contributes to an inviting, inspiring, and energising workspace.
“As Conran and Partners spend more time in the space, for sure there will be small adjustments to the lighting and control as one only ever really understands a space and lighting within when one uses the space regularly,” he said.
“But for now, we are really pleased with the end result, and feel confident that Conran and Partners’ vision has been realised.”
ATI Head Office, UAE
When Dubai-based engineering and architecture consultants ATI moved into its new head offices, the firm’s in-house lighting designers sought to create a scheme that would create a harmonious and comfortable working environment.
Established in 1980, ATI is an award-winning architecture and engineering consultancy firm. Based in Dubai, the company also has offices around the world in Sharjah, Istanbul, Tokyo, Kyiv, Almaty and Moscow, and has delivered end-to-end services on more than 700 projects around the world.
Across the firm, its main disciplines include architecture, interior design, lighting design and landscape design, as well as MEP design, structural design, and construction supervision.
To coincide with its 40th anniversary, ATI decided to relocate its design team to a newer, larger space that better reflected its brand vision and creative work. Located in the heart of Dubai, the firm hopes that the move will help establish ATI within the city’s urban core.
When it came to designing the new headquarters, the goal was to create several unique areas within an open plan, collaborative space, in a bid to facilitate and inspire employees while maintaining a future-oriented working environment. Lighting for the new office space was designed in house by Mohannad Al Salkhadi, Principal Lighting Designer at ATI.
Spanning across 460sqm, the office space consists of four separate adjacent units, where a combination of both direct and indirect lighting was used throughout. When developing the lighting concept, Al Salkhadi was keen to take into consideration the working environment, as well as employee wellbeing. As such, it was important for the lighting to follow the layout of the workspace to balance the use of direct and indirect lighting.
Luminaires were carefully selected and distributed to serve light “where needed, when needed and however needed”. To achieve this, a thoughtful process of product sourcing and evaluation took place during the design stage, which included looking at a number of different technical specifications.
The first of which was light distribution beam angle; an essential criterion of the design was to avoid flooding the space with unnecessary light. As such, a variety of beam angles was used, including narrow, wide, and elliptical beams. This was in part due to the special interior architecture, which consisted of different volumes, along with the office space. Enhancing this further, to ensure the right amount of light was used within the target workplanes, each desk space was provided with a luminaire that delivers the exact amount of required light.
Complementing the abundant sunlight entering the space, a CCT of 4000K was selected for the artificial lighting, while a CRI as high as 90 was a mandatory requirement, due to the heavy use of building material samples where the best appearance is needed.
Luminaires formed an important element of the interior design, and as such were selected to integrate seamlessly and proportionally within the surroundings. In the studio’s open space, linear suspended luminaires were placed to perfectly match the workstation lengths. Each individual luminaire provides separately switched direct and indirect light, giving staff the freedom to have a preferred mood at any time. In areas such as the library, garden and sample room, fully adjustable spotlights were provided to adapt to ever-changing events and displays.
On entering the workspace, visitors are greeted by the main reception area. Here, the lighting design needed to emphasise the main interior design features, such as the unique wooden structure used to frame the space. The spread of light therefore had to enhance this perspective by highlighting the main inflection lines of the wood; to achieve this effect, a spotlight was placed where the surfaces changed direction. In addition, features such as the ATI logo and greenery have been highlighted by a combination of medium and wide beam angles, maintaining the contrast between the objects.
Elsewhere, in the main board room, a bold decision was made to eliminate the use of downlights and suspended lighting – instead, lighting was designed on three layers; hidden cove lights provide indirect light, while lines of light integrated within the wooden ceiling take care of direct light. Additional ambient lighting comes from concealed shelf lighting.
Elements of this approach continue in the CEO and Executive Director’s offices, although this room did require its own character. Alongside a soft, homogenous colour scheme, lighting was expected to seamlessly blend in with the wider interior design. Besides indirect cove lighting, a set of well-studied spots were placed between the ceiling’s wooden, slatted details to highlight the separate “islands” of the room – the desk and meeting space.
In the communal spaces, a slightly different approach was taken with regards to the lighting – in the sample room in particular. As the office deals with a wide variety of building material samples, the sample room is considered a live testing stage for all materials, appearances, and matchings. Because of this, the area was illuminated with fully rotatable and adjustable surface spots. With a CRI of +90, coverage from opposite angles to cancel shadows, and under-cabinet integrated lights, every corner of the room will receive the required light needed for internal materials discussion and sample presentations.
Breaking away from traditional office spaces further, the renovation features an indoor “garden” and library space on route to its communal, central gathering hub. Intended as a space for casual discussions and interactions, the lighting was designed to match, providing the right amount of light with the desired contrast to create visual separation.
Continuing the more relaxed ambience, the office’s “lounge” space is considered a favourite spot for many clients and guests. Furnished with an organic feel and surrounded by plantation, the wooden ceiling provides the ideal housing for slim linear lights that merge in a perfect fit, blending in with the framework of the space and giving maximum visual comfort.
The main workspace, dubbed the “Studio” was designed to be simple and elegant. Based on a module of four workstations, the Studio allows ATI’s team of designers to have an easy-going workflow between different disciplines. Each workstation module is topped with a suspended white linear light with separately controlled direct and indirect light. Suspension height was also taken into consideration to allow for the perfect spread of indirect light.
On completion of the project, Al Salkhadi explained how different the process was, designing the lighting for the firm’s own office space: “Keeping in mind that even the interior design as also in-house, we were able to confidently design each of the spaces to make sure that they will be unique, yet in harmony with the rest of the office space.
“The lighting helps to highlight each of the areas, creating visual boundaries based on the contrast of lighting levels. It also provides the space with an energetic atmosphere.
“The interesting part was the opinions of the rest of the team; with a variety of professions and backgrounds, we had lots of different feedback. But when we explained to them the preciseness of the lighting design, and the reasons why every part was designed the way that it was, they started to understand and appreciate it more.”
