Paolo Creati: Lighting Design as a strategy for inclusion
As a teacher of students with special educational needs, Paolo Creati has recently conducted research into lighting for students with visual impairments. He explains more about the research project here.
The number of people with low vision is constantly increasing, as shown by the World Health Organisation (WHO): there are 36 million blind people in the world and 217 million moderately or severely visually impaired people, out of a population of 7.3 billion people. It is also estimated that 253 million people live with 21 sight problems. The epidemiological data refers to a study published in The Lancet, according to which the number of blind and visually impaired is constantly increasing. A correct lighting organisation can play a crucial role for subjects with visual sensory disabilities. Specifically, the concept of light comfort has been defined in the United Kingdom; the ESFA (the Education and Skills Funding Agency) says that is important to guarantee flexible and multifunctional lighting arrangements in school environments that allow people with visual difficulties to enjoy the learning spaces. Following these premises, the design of a classroom that encompasses the objective of improving the lives of learners through a flexible spatial organisation and which focuses on the use of light can also be a fundamental element. From these considerations, I’ve begun to research the predisposition of light as a possible strategy for the creation of flexible and personalised school spaces.
The power of light
As a teacher of students with special educational needs, I deal with many different disabilities and for this research, I concentrated my interest in visual sensory disability. The mission is to guarantee the inclusiveness of people with disabilities, so I had the idea to realise the principle of inclusion, in particular for visually impaired students, by exploiting the resource of light. A recent study testifies that, in humans, exposure to natural light is responsible not only for the circadian rhythms but also for the regulation of the attentional, learning, and psycho-emotional sphere, having beneficial effects that contribute to the success of one’s self-realisation. Why not consider the application of lighting design inside a classroom?
As we know, exposure to natural light and our position on it is also closely related to our way of acting. A non visually-impaired individual certainly has the possibility of improving their cognitive and psychic functions through the instrument of light, both natural and artificial.
Inspired by the lighting design industry, introduced to me by Martina Frattura from Whitepure studio in Lisbon, I had the chance to know how much power light could have and how it could be versatile and adaptable in different fields. My project proposal was also inspired by the museum of the Dancing Satyr of Mazara del Vallo, Italy, which through the new illuminations, offers the opportunity to improve the visual experience of the masterpieces of art and facilitates the orientation of visually impaired people, in this way it is possible to observe the realisation of the concept of cultural accessibility. Schools are places where we should guarantee the possibility for all students to be part of the learning process and to have accessibility to culture, so a well-designed classroom that allows enjoying the wellness of light can help to achieve these goals.
Interview with lighting designers
My research started from the point that the organisation of a school space where light is exploited can have an inclusive value for all students, in particular for those with visual sensory disabilities. I conducted the study using a qualitative approach that involved a survey submitted to a sample group of lighting designers coming from the United Kingdom, Kuwait, and the United States. Combining the collected data and the theoretical framework about the potential role of the light, it has been possible to elaborate an arrangement of an inclusive space for learners.
The result is the creation of a classroom in which a lot of elements required attention, for example, the floor must be a colour that is a strong contrast with the walls to guarantee a better orientation, the size and arrangements of the windows are of fundamental importance because, during the hours of the day, natural light is the first, and often only light source in the classroom. In the presence of cases of visually impaired students, visual discomfort could be increased by glare disturbance, which could happen in the case of bad management of natural light. The use of filters that refract and diffuse light rays is a solution within everyone’s reach, which does not alter the quality of natural light in an inclusive class. Near the walls, we have the ceiling and the floor, with similar and different functions. The ceiling, as well as the vertical surfaces, has the characteristic of being able to help in the general perception of space. Any room will be considered more or less high based on the colour of the ceiling and the walls: a lighter ceiling will give the appearance of a greater height; a darker ceiling will create a cave effect. For sighted people, this effect does not cause particular visual disturbances, while in the presence of high contrast, a visually impaired student, considering the importance of this visual signal, could suffer an overload of information and in the worst case could lose attention. The ceiling should therefore remain a neutral colour and/or conform to the walls.
Once that “box” has been checked, we move on to the internal components: compared to the standards, the desk of the visually impaired student, depending on the type of visual sensory disability, may have to accommodate more tools, which leads to the need for a broader plan. But the larger surface area also translates into a higher possibility of reflection of light rays, coming from both the window and the lighting fixtures, which could lead to a malaise. Having a tilting desk is a simple solution to this problem and is compatible with the various possible positions of the desks inside the room. Of great importance is also the blackboard. In the case of digital whiteboards, it is a real self-illuminating screen. Despite the great advantage of the possibility of intensity adjustment, if necessary, it is advisable to apply an anti-reflective filter. The glossy or semi-glossy surface of the screen could become a means of uncontrolled reflection of the incident rays. The same precautions must be taken when the student uses a computer. In the case of a classic blackboard, the mechanical devices of positioning and inclination, as for the desks, are useful, but the choice of the other type is still preferred.
The use of the space depends also on the correct design of artificial lighting, during the darkest hours, but also in the morning to improve vision in case of low levels of dim light. The level of lighting required by students can vary both between sighted and non-visually impaired students, but also depending on the type of visual impairment of the student. Some students may be extremely sensitive to light, in cases of malformation of the retina or lens, or the opposite, in cases of an absence of visual acuity. To determine the best lighting, the student and the teacher must experience the different lighting conditions, and this, today, is possible thanks to LED lighting, it can afford a variation in intensity, flow, and colour of the light. In terms of visual comfort, it is allowed to vary the intensity and colour temperature of the source during the day.
Conclusion
The research aims to formulate a design in which different connected elements contribute to the building of an educational environment that takes into account the didactic and individual needs of students, in particular those with visual sensory disabilities. For years architecture and pedagogy have been dialoguing with each other, undergoing a mutual influence, and this has led to increasingly current reflections on the active role that the student plays during the learning process. It is known that, for a proper learning process, the teacher must not base their activity on the simple transmission of knowledge, the student learns through interaction, individual discovery, and experimentation, and the space has the task of satisfying these needs and improving the teaching experience. Visual comfort is one of the elements that most affect the type of indoor environment and the wellbeing of the user. Therefore, for there to be an improvement in the vision of the space, it is necessary to take into account a design that involves correct lighting design of the environment.
Through the involvement of professionals in the lighting design sector, we tried to understand how the organisation of space, modulated by natural and artificial lighting can improve user performance. The design proposal of the classroom represents the attempt to put into practice the principles of Design for All, characterised by flexibility and thinking in a preventative way concerning possible obstacles. Light plays a central role in any space; an essential element for human wellbeing, which can not only be a function of empowerment but also of inclusion. The design of a classroom where a correct lighting installation is applied receives the beneficial effects of light at the highest levels and also considers people in conditions of visual sensory disabilities through careful preparation of their personal space. This is possible by using solutions moulded on the visually impaired or blind individual, who will be able to achieve visual comfort and enjoy, like their peers, the positive effects produced by a correct predisposition to light.
The space designed to enhance the light-resource guarantees a positive action at a psychophysical level that will allow the pursuit of learning objectives and at the same time can contribute to developing their relational skills, especially because human relations are regulated by the way with which we relate our body with the environment.
Designers Mind: Wellbeing becoming work's partner - part two
Continuing the conversation about the relationship between work and wellbeing, Kaye Preston is this time joined by Designers Mind contributor Kael Gillam to talk about the importance of rest.
In the last issue I discussed the importance of considering wellbeing as work’s partner and how prioritising our health can lead to improved performance, creativity, productivity, better focus and ability to make decisions. This month I want to follow up with a “Part Two” on the subject, focusing specifically on the importance of rest. I’ve also asked Kael Gillam, Principal Lighting Designer at Hoare Lea and Designers Mind contributor to join me in exploring the topic further.
Before we dive in, I felt that this quote from Alex Pang, author and former tech consultant – “Rest is not work’s opposite, rest is work’s partner” – was worth revisiting, as it plants a seed for changing our mindsets. It sparked the idea for these two columns while highlighting the importance of taking breaks throughout the day.
So, what does rest truly mean for our working day?
Taking rest is as essential an act as working because one cannot exist without the other. When we choose to rest, it means that we’ve identified a need to change focus from the world outside us to the world within. Resting is, in a way, about setting boundaries with yourself; it’s knowing how long you can be active and productive without wearing away your mental and physical energies, and acting on that self-awareness.
Knowing your limits will be a process that’s very personal, but there are some more universal signs of fatigue that might accompany them. This can take the form of either physical – experiencing eye strain, headaches, or musculoskeletal pain – or mental signals – lack of creativity, feelings of isolation, and inability to make decisions.
Viewing rest as a positive action can be challenging in the face of deadlines or personal hardship. It’s easy to feel that rest is ‘cheating’ or that it’s not ‘deserved’ until a goal is met. But if we ignore our body’s signals to rest, then the feelings of overwhelm, tension, and fatigue begin to mount until they are unmanageable and begin to edge towards burnout. And to be clear, rest does not mean ‘sleep’, though we would certainly encourage regular and quality sleep as a boon to both mental and physical health.
Rest can mean writing in a journal, going for a coffee, visiting friends, or taking a holiday. Taking time away from your computer does not mean you’re not still working, it simply means you’ve displaced yourself from your work station. Good ideas and problem solving need not happen in front of a screen; they can happen on a walk through a garden or a trip to the store. We can also plan rest into our day much the same way that we plan meetings or appointments. Blocking out time in our day for ourselves is a reminder that there is no compartmentalising ‘work’ you and ‘life’ you: wellbeing doesn’t get put on hold when you’re in working hours.
Our process as creatives is just as fluid and changing as the energy we bring with us, and we should be open and honest about how much and what kind of rest we need on a daily basis. Some days we feel more focused and ready to work on strenuous tasks, some days we are only able to give fleeting moments of attention. Learning your rhythms and signals will allow you to know your boundaries and act on your intuition when you need a break.
And, if you work in an office, you might just be a positive influence on others when you make these choices. If your rest looks like finding the company of others, you can take walks or get coffee with colleagues. If rest looks like finding time on your own, you can look for a quiet spot around your workplace to sit and collect your thoughts. No matter what form your rest takes, it should encourage and invigorate you to continue through your day.
What does the research say?
Microsoft’s Human Factors Lab conducted a study (Mar 2021) investigating the impact of taking breaks on our stress levels. The study focused specifically on taking breaks between meetings and the effect having back to back meetings can have on our levels of stress, fatigue, focus and engagement.
“Our research shows breaks are important, not just to make us less exhausted by the end of the day, but to actually improve our ability to focus and engage while in those meetings,” says Michael Bohan, senior director of Microsoft’s Human Factors Engineering group.
The research was clear, rest between meetings allowed the brain to reset, increased the ability to focus and decreased levels of stress overall. Now what if we applied this research to all tasks and changed our mindsets about the importance of taking breaks throughout the day? It may feel counterproductive to take time away from our desks and work but the research shows the opposite to be true.
Here are five strategies to build more rest into your day:
1. Take advantage of natural pauses between tasks. Instead of diving immediately into the next thing, take a few moments for yourself to reset.
2. Plan wellbeing time into your day. Things that aren’t planned often don’t get done. Treat your wellbeing practices like you would a meeting and schedule in the time.
3. Set reminders on your phone. Use tech to your advantage to help create new habits around taking breaks and building moments of rest into your day.
4. Be intentional about meetings. Consider what you want to achieve and also the length of time actually required.
5. Choose activities that calm the mind. Meditation, breathing exercises or a walk outside in nature can all help reduce stress levels.
Let’s change our mindsets around rest and start seeing it as a productive part of our day. A partner of our work, an ally to our creativity and focus, a supporter of our physical and mental health, and key to our overall wellbeing.
GreenLight Alliance: Our Time on Earth
Benz Roos, Senior Lighting Designer at Speirs Major explains how the lighting of the Our Time on Earth exhibition at the Barbican echoes its message of creative responses to climate change.
We felt extremely fortunate to be asked to design the lighting for the exhibition Our Time on Earth, conceived and curated by Barbican International Enterprises (London) and co-produced by Musée de la civilisation (Québec City). The exhibition is themed around positive, creative responses to climate change and pressures on the earth’s fragile ecosystem.
To quote guest co-curators Caroline Till and Kate Franklin: “The conversation about the climate crisis until this point has focused on depicting the scale of the problem – an approach that, while valuable, often evokes a sense of shame, helplessness and even paralysis. But we know that many brilliant artists, designers, and technologists are creating ways to help combat the climate emergency. We wanted Our Time on Earth to carve out space to imagine a constructive way forward.”
In the spirit of the exhibition’s message, the design team’s brief was to design as sustainable an exhibition as possible to house the art pieces. The architects, Universal Design Studio, created a palate of natural and/or recycled materials such as Honext, corrugated hemp fibre sheets and hemp fabric for the exhibition design; and we challenged ourselves to design the most sustainable lighting scheme that we could.
The exhibition hosts 18 distinct artworks, each requiring its own unique atmosphere, with most of the artworks containing projections or screen-based content. The digital nature of the works contrasts noticeably with the natural material palette of the exhibition design. We aimed to softly highlight the innovative sustainable materials of the exhibition framework without distracting from the art installations.
Many video installations also include sculptures made from organic materials such as wood and recycled fabrics. Dramatic and focused light illuminates the sculptures in balance with the luminance levels of the screens and projections. For example, Liam Young’s Planet City film is accompanied by mannequins displaying the costumes by Hollywood designer Ane Crabtree. Traditional high-level spotlights illuminate the costumes, and in addition, linear diffuse glowing luminaires behind the sculptures interpret the film’s cinematography. This backlighting methodology also renders the beautiful textures of the fabric.
Inspired by the artworks and the exhibition’s theme, we prioritised the consequences of our design decisions in parallel with designing for people’s experience of the exhibition. Early design discussions with the Barbican and the architects included ideas ranging from shades made from plant seeds to cable ties made from recycled rubber. The concept eventually settled on a few simple principles.
1. Utilise as much existing equipment as possible.
2. Design with minimal equipment in mind.
3. Specify products suitable for the circular economy.
4. Make sure the visitor experience is excellent.
Circular economics and minimal (embodied) carbon were crucial principles from the start of our design process. The life span of exhibitions is usually shorter than lighting for buildings, and Our Time on Earth has a proposed life span of five years. The exhibition will travel once the show ends at the Barbican in August, so its temporary nature puts the question of ‘what happens to the products after their use’ into sharp focus. The relatively new CIBSE guidelines TM66 and TM65 helped us direct the specification towards circularity, and low embodied carbon.
We inherited a selection of older fixtures – Soraa Arc 100 track-mounted spotlights – from the previous BIE exhibition at the Barbican. The embodied carbon and circularity credentials are unknown for these luminaires; however, dedicated exhibition luminaires are very flexible by nature, so the lowest embodied carbon starting point was to re-use what was already available on site. The Soraa fixtures feature a snap-on system that is an easy and highly effective way of changing the beams to create the right ambience for each artwork. It made us realise that some traditional track light fixtures already contain circular principles in terms of in-built flexibility and ongoing use for different types of shows.
The exhibition required new luminaires in addition to the existing track lights. Having assessed the market, we found that the Stoane Lighting ZTA spotlight range was the natural choice for the equipment, particularly as Stoane Lighting is spearheading the circular economy in the UK. Its KTP (Knowledge Transfer Partnership) with Edinburgh Napier University and the Government’s Innovate UK allowed a complete project assessment of the circularity and carbon footprint of the design to be made. PhD chemist Dr Irene Mazzei assessed the overall design data, and her fascinating evaluation showed us the full carbon consequences of our specification and design decisions for the first time. Her study concludes that the total embodied carbon for the new luminaires in the exhibition is 2,262kg CO2e. To put this in context, 38 seedlings would need to grow into trees for at least 10 years to offset this emission to become carbon neutral. The TM65 study breaks down the material composition of the fixtures, telling us that raw materials, largely aluminium, make up at least 50% of the overall embodied carbon. At this point, the ZTA is a useful product because it is circular by design. The luminaires can be easily adapted and refurbished into new products with different light technical specifications or even mounting methodologies. The Barbican could utilise the product for new shows or light other spaces at the end of the exhibition.
The study also showed that electronics such as drivers significantly contribute to the overall embodied carbon of the lighting installation. Drivers are responsible for approximately 472kg CO2e (20%) of the 2,262kg CO2e. For future projects, we should keep this in mind; if, as is the case with this exhibition, we can design systems that share drivers, it might be possible to make further reductions in embodied carbon.
Dr Mazzei’s tables and diagrams have been an eye-opener in approaching lighting design. Until now our studio has always put the experience and the visual effect of the light as the primary focus at the concept stage, with the choice of the equipment that will deliver this not considered until later in the creative process. This relatively small project has allowed us to begin to adjust our approach, as designing with circular and low embodied carbon principles requires a slightly different attitude. To quote activist Clover Hogan: “Solving climate change is not your responsibility because it’s outside your control. What you are responsible for is the thing inside your control, indeed the only thing that has ever been inside your control: your mindset.”
Thinking towards the future, we can see that addressing climate change requires a new mindset for lighting design. We ought to dream much more extensively beyond beautiful lighting experiences. Some design ideas, like the shades made from seeds, which can be planted and grow after their use, make a captivating story. However, on working through the concept and discussing the embodied carbon, it becomes apparent that these ideas are little more than ‘green’ gimmicks. One of the artists, Biofabricate, presents a near future in which the fashion industry utilises bio-fabricated materials made by living cells. Using bio-fabricated materials is not a gimmick because it is not only about designing a fashion piece but also takes the entire system of production into account. As lighting designers, we have a responsibility to think more holistically about our approach.
Regenerative design expert Sarah Ichioka has a good analogy for thinking about systems and consequences. For example, she urges shampoo manufacturers to create melanges that are good for our hair and rivers – where shampoo might end up. Similarly, lighting designers ought to consider the consequences of their specifications. Specifiers should ask questions like; what happens with the equipment after its use? How is the luminaire manufactured? Which materials are involved? It is immensely encouraging that CIBSE TM65 and TM66 provide some in-depth direction.
However, we should aspire to challenge ourselves further and interpret engineering guidelines creatively. Nairobi-based design studio Build X and Mycotile exhibit the material mycelium. Mycelium is part of the fungi kingdom and is the network of threads, called hyphae, from which mushrooms grow. Ikea is planning to replace all its use of polystyrene with this bio-material, and various decorative luminaires utilise mycelium already. It is easy to imagine components of technical fixtures could also utilise this material. The Soraa Arc is predominantly made from plastic, with a cast aluminium heatsink. But what if mycelium replaced the plastic components to reduce embodied carbon? After their use, when luminaires are dissembled for recycling or re-use, some elements would be able to biodegrade and become part of the ecosystem again. These components could become food for the 38 tree seedlings, allowing them to flourish and offset the embodied carbon for the lighting equipment of this exhibition.
One of the key aims of the curators is to send a positive message to visitors. They want to present a positive future with solutions to climate emergencies. As designers, we have a lot to catch up on. Still, this exhibition has helped us take steps towards a lighting design process with holistic sustainability considerations built in from the beginning.
Our Time on Earth is currently open until the end of August at the Barbican in London. We would like to thank the Barbican for the opportunity and Dr Irene Mazzei and Stoane Lighting for their support and insightful study.
This series is curated by Roger Sexton of Stoane Lighting, roger@mikestoanelighting.com
LUCI Association launches LUCI Cities & Lighting Awards
(France) - To mark the 20th anniversary of the LUCI Association, it has announced the new LUCI Cities & Lighting Awards.
Designed for cities and local authorities, the awards have been created to recognise urban lighting projects that reflect the multi-disciplinary nature of urban lighting and show a positive impact on economic, social and cultural development.
The ambition of the new awards programme is to celebrate cities that have driven lighting projects that aim to improve sustainability and quality of life. Entries can be submitted by cities and other organisations, in agreement with or on behalf of a city, and will mainly be judged on project design, implementation and evaluation.
The LUCI Cities & Lighting Awards ceremony will be organised during the LUCI AGM Busan (South Korea) on 19-22 October 2022. Applications from around the world are encouraged; entries can be submitted via email to awards@luciassociation.org by 9 September 2022.
More information is available on the LUCI Association website.
Available Light continues western expansion
(USA) - Shortly following the announcement of its new Los Angeles Studio, Available Light (AvLt) is continuing its western expansion with the opening of a new offices in Phoenix, Arizona.
The new studios join existing AvLt studios in Boston, New York, and Raleigh.
Founded in Boston in 1992, Available Light is celebrating its 30th anniversary with a focus on regional growth. Founder and President Steven Rosen said: “When we reach our 25th anniversary, we commissioned a monograph to celebrate our achievements. At 30, we’ve reinvigorated our practice with a strategic growth plan that lets us meet and support our clients at their doorstep.”
The new Phoenix studio will be led by Associate Principal Rachel Gibney. After training as a theatrical lighting designer, Gibney, an Arizona native, has been part of the AvLt team since joining the firm as an intern nearly a decade ago.
She said: “From aesthetics, to wellbeing, to sustainability, we look forward to collaborating with owners, architects, designers, consultants, and contractors to create the best possible architectural and experiential outcomes for everyone who encounters the spaces we light.
“I’m excited to expand Available Light and offer our lighting expertise in life sciences, commercial and other industries in the Phoenix area. In addition to more directly serving clients in the Southwest, we now have an opportunity to contribute to the professional networks that underpin other related regional design industries.”
Rosen continued: “Rachel rapidly climbed the responsibility ladder at AvLt. Over time, she’s deeply absorbed our aesthetic, culture and design process. At the same time, her desire to enhance our technical skills - generating computer daylighting studies, developing virtual real-time 3D presentations, studying the affect of light on humans and more - has made Rachel a real boon to the firm. From higher ed STEM complexes to museums, Rachel uses light to tell meaningful and compelling stories with lasting impact. Her design skills and collaborative spirit will greatly benefit our clients.”
New Mayor’s Design Advocates to include lighting designer
(UK) - To support London’s refreshed Good Growth by Design programme, Mayor Sadiq Khan has appointed 42 new Mayor’s Design Advocates (MDAs) - including names such as Sir David Adjaye OBE, Hanif Kara OBE, Sir David Chipperfield CBE and Farshid Moussavi OBE. The Good Growth by Design programme aims to help shape London into a better city by promoting quality and inclusion on the built environment.
MDAs are independent experts who will support the Mayor’s vision of “good growth” and will ensure that new buildings and public spaces will benefit Londoners and are at the heart of the capital’s recovery from the pandemic.
In addition to the high profile names, the newly appointed MDAs include fresh, emerging talent in the built environment space, and those who have relevant expertise in key areas such as zero-carbon and sustainability, the safety of women and girls, and housing quality. The new cohort also includes a lighting designer and night-time strategist - independent designer Satu Streatfield.
The group of 42 MDAs have experience in both the public and private sector, include practitioners, academics, policymakers, and those from community-led initiatives. 55% are women, and 45% come from Black, Asian and Minority Ethnic backgrounds.
The new cohort will support the updated Good Growth by Design programme, which has a new forward programme responding to four years of change. The newly updated programme reflects the importance of an inclusive recovery from a pandemic that has highlighted inequalities and the need to counter racism and other forms of prejudice in the built environment.
The pandemic has also accelerated a change in the way Londoners use the city. The reconfiguration of high streets and other workspaces, as well as the urgent need to meet net zero by 2030, is also reflected in the updated Good Growth programme.
More information about the Good Growth by Design programme can be found here.
Zumtobel opens HQ for Light.Live event
(Austria) - On Tuesday 24 May, the Zumtobel Group opened the doors of its Dornbirn headquarters for its largest Light Forum to date. Around 400 visitors from across Europe and MEIA travelled to the Austrian town to take in the 4,000sqm Light Forum, see the latest innovations from across the Zumtobel Group, and celebrate the winners of the Zumtobel Group Awards 2021.
Alongside guided tours of the Light Forum, the audience was offered a range of keynotes on sustainability and design trends, as well as workshops on sustainable architecture, light pollution, digital services, and light as infrastructure to promote a discourse regarding relevant future issues in the industry.
Opening the day’s festivities, Zumtobel Group CEO Alfred Felder, and Jürg Zumtobel, Former Supervisory Board Chairman and CEO, welcomed guests to the space, inviting them to view the wide scope of Zumtobel Group offerings on show across the Light Forum, from across its Zumtobel, Thorn and Tridonic brands. Each brand had its own space, with areas dedicated to workspace, retail, exterior, industrial and emergency lighting, as well as an immersive artwork from James Turrell. The Forum also highlighted 30 years of Zumtobel Group’s Annual Reports, in which the company has partnered with renowned architects and designers from around the world.
Sustainability was very high on the agenda for the event, with a keynote presentation from Sebastian Gann, Group Sustainability Director at Zumtobel Group breaking down the ways in which the company has increased its sustainability efforts. Meanwhile, in a workshop session entitled “A discourse on the contribution of light to sustainable architecture”, Herbert Pamminger and Carina Bucholz discussed the connection between energy efficiency and sustainability, and whether the two are synonymous with each other.
Elsewhere, one of the highlights within the workshop programme was an informative session on the importance of dark skies. Introduced by Eliot Horsman of Thorn Lighting, Dan Oakley, Lead Ranger of the South Downs National Park Authority explained the work that he does to improve the dark skies in the South Downs, before highlighting how lighting manufacturers and customers can take action to provide lighting solutions that balance human and environmental needs.
The centrepiece of the event, was the presentation of the Zumtobel Group Awards 2021. The sixth edition of the company awards continued the focus on key industry topics, with the winners across three categories – Buildings; Urban Developments and Initiatives; and Innovation – centred on future-oriented developments to improve the quality of life and sustainability in the built environment.
The winners were selected by an international, interdisciplinary jury comprised of Kjetil Trædal Thorsen, Snøhetta Architects; Tobias Nolte, Certain Measures; Ian Ritchie, ritchie*studio; architect Dorte Mandrup; and Isabel Zumtobel, Head of Arts & Culture at Zumtobel Group.
The La Borda Housing Cooperative by Lacol, an architecture cooperative form Barcelona, Spain, was recognised in the Buildings category. Whole Block Outcomes: Rehabilitating Baltimore by the initiative Black Women Build won in the Urban Developments & Initiatives category, while the Special Prize for Innovation went to the Circular Construction Lab of Cornell University, USA, for its RhinoCircular software tool.
In the afternoon, a panel discussion took place with each of the award winners, as well as the jury. The discussion covered the topics of collective living, affordable housing, and circularity – each of which were addressed within the award-winning projects.
The day’s events ended with the presentation of trophies to the three award winners. Alfred Felder, Karin Zumtobel-Chammah, Chairwoman of the Supervisory Board, the jury, and curators Kristin Feireiss and Hans-Jürgen Commerell of the Aedes Architecture Forum in Berlin were present on stage, with the ceremony led by Natalie Kreutzer, Editor-in-Chief of the Zumtobel Group.
“The Zumtobel Group Award, with its main emphasis for innovation in humanity and sustainability in the built environment, is more relevant than ever,” said Isabel Zumtobel. “We had so many valuable contributions and I want to thank them all not only for their participation within the Award, but also their contribution to making our world a better one. My sincere congratulations go to the three winners.”
Following the awards presentations, the event concluded with food, drinks, and live entertainment, giving guests a final chance to enjoy the Light Forum experience.
Alfred Felder said of the event: “With the Light Forum in Dornbirn, we made a sustainable investment in this group location and created a unique place of exchange and co-working. It provides an ideal framework as a venue for events such as Live.Light. Being able to show customers and partners the Zumtobel Group’s broad brand spectrum in person again and to provide immersive light experiences is a highlight in the Light Forum’s young history, and many more will follow.”
Winners of IALD Awards revealed
(USA) - The winners of the 39th annual IALD International Lighting Design Awards were revealed in an online ceremony earlier this month.
Presented by Acuity Brands, the awards ceremony was held online for the third year, and saw 22 projects from 11 countries recognised.
Projects included exteriors, interiors, memorials, hospitality, museums, tourism and places of worship, representing some of the most innovative and inspiring architectural lighting design work in the world.
IALD Awards Co-Chair Mirjam Roos said: “I have been honoured to serve as co-chair for the last three years and have the opportunity to watch the excellence of our profession grow year after year through all of the submissions.
“Our seven-member panel of judges evaluate each project submission individually for demonstration of excellence across 10 distinct areas in a rigorous and blind process.”
The highest point score winner across all entries, in addition to receiving an Award of Excellence, received the IALD Radiance Award for Excellence in Lighting Design, the highest honour in the awards programme.
This year, the IALD Radiance Award went to Beijing Puri Lighting Design for the Chamber Chapel in Qingdao Shandong, China.
The full list of winners is as follows:
IALD Award of Excellence
- Chamber Chapel, Qingdao, Shandong, China: Beijing Puri Lighting Design
- Four Seasons Bangkok at Chao Phraya River, Bangkok, Thailand: Project Lighting Design
- Fusheng Art Gallery, Wuhan, China: Beijing Bamboo Lighting Design
- Guanyin Altar, Zhoushan, Zhejiang, China: Shanghai ATL Lighting Design
- Humen Transit Oriented Development Exhibition Centre, Dongguan, China: Brandston Partnership
- Nidaros Cathedral, Trondheim, Norway: Erik Selmer
- Synagogue: Babyn Yar Holocaust Memorial Centre, Kyiv, Ukraine: Expolight
- Xu Wei Art Museum, Shaoxing, Zhejiang, China: Lighting Design Institute of UAD
IALD Award of Merit
- Acropolis of Athens and Monuments, Athens, Greece: Eleftheria Deko & Associates
- BIO4, Copenhagen, Denmark: Speirs Major
- Chongqing Qiansimen Sales Centre, Chongqing, China: Brandston Partnership
- David Rubenstein Forum, University of Chicago, Chicago, IL USA: Tillotson Design Associates
- Guangming Culture & Art Centre, Shenzhen, China: RDesign International Lighting
- Jiaxing Train Station, Jiaxing, Zhejiang Province, China: Ning Field Lighting Design
- Lun-Ping Cultural Landscape Park Pavilion, Taoyuan City, Taiwan (ROC): CosmoC Lighting
- Piłsudski Bridge, Kraków, Poland: Qlab
- Sea Change, Lonsdale Quay, North Vancouver, BC Canada: Arup and Jill Anholt Studio
- Shanghai Rock Bund, Shanghai, China: Brandston Partnership
- Xapo Bank Hall, Gibraltar, UK: Michela Mezzavilla / reMM Lighting Design + MMAS Lighting Design
The IALD Special Citationsare as follows:
Special Citation for Use of Lighting in Enhancing Branding and Identity: Allegiant Stadium, Las Vegas, NV USA: WSP USA
Special Citation for Exceptional Illumination of Organic Roof Form: Guan Yue Ta, Longyan, Fujian Province, China: FANGFANG Lighting Design Studio
Special Citation for Creative Transition of Lighting Scenes with Integration of Photo-Electric Glass and Architectural Lighting: Mei Li Zhou Church,Hangzhou, China: Brandston Partnership and Zheijang University City College
IALD appoints Christopher Knowlton as CEO
(USA) – The IALD has announced that Christopher Knowlton has been appointed as the new Chief Executive Officer of the association and Executive Director of the IALD Education Trust as Ashley Robbins, CAE, steps down from her role as Interim CEO to take a new post with another association, effective 1 June.
During Robbins’ nine-year tenure with IALD as Director of Membership and subsequently Interim CEO, she has worked with members across the world to advance the association’s mission of promoting the global profession of lighting design through leadership and advocacy. “Ashley’s contribution and commitment to the lighting design profession will be felt for years to come. We are incredibly grateful to her for the work she has undertaken in very challenging conditions,” said IALD President Monica Luz Lobo.
The IALD Board of Directors selected Christopher Knowlton as the new permanent CEO for the IALD; a former lighting designer of 15 years and business owner who has been involved with the IALD and IALD Education Trust since 2010, Knowlton most recently served as IALD Treasurer. Brandon Thrasher has been selected by the board to replace Knowlton through the end of the 2021-22 term, with Carla Wilkins appointed as the President’s Selected Director to serve the remainder of the 2021-22 term.
Lobo said of Knowlton’s appointment: “Christopher has been instrumental in guiding the association through challenging times and safeguarding its future. He is exceptionally well placed to maintain continuity while also progressing new ideas and advancing the association.”
“I couldn’t be more excited to partner with the IALD Board of Directors, IALD Education Trust and staff team. We have a great opportunity to not only advance the association’s mission and vision, but the profession of lighting design as a while,” added Knowlton.
Lucent Lighting partners with interiors company Monarca
(Middle East) – Lucent Lighting has announced a new collaboration with innovative architectural and design consultancy, Monarca. Working in partnership throughout the Middle East, Lucent and Monarca hope to revolutionise the industry with innovative lighting concepts to create breathtaking interiors that range in style and character.
Established by industry expert, Skander Dardour, Monarca will take advantage of Dardour’s wealth of expertise in construction and high-end lighting to enhance luxury interiors for contemporary homes, futuristic hotels, extraordinary landscaping and luxury retail stores.
Partnering with some of the most premium brands in the field of furniture, art, and lighting – Monarca's new collaboration with Lucent will deliver exceptional architectural lighting for some of the Middle East’s most prestigious architectural and interior design projects, reaffirming Monarca’s clear ambition to provide exquisite creations for its clients.
The long-standing reputation of Lucent, combined with the ambition and design passion of Monarca, is an exciting pairing that both companies are hopeful will deliver spectacular outcomes across the Middle East.
Skander Dardour, Founder and CEO of Monarca and Lucent Middle East Agent, said: “I have long been an admirer of Lucent’s products and I am honoured to represent them in the Middle East. High quality lighting is integral to the success of every interior and architectural design project and Lucent’s superior lighting more than delivers for our clients.”
Michael Dunk, Owner and CEO of Lucent, added: “It is a real privilege to work alongside Skander Dardour; his wealth of industry knowledge and attention to detail have resulted in the creation of world-class design projects that are much admired by the industry. We are delighted to partner with Monarca and very much look forward to seeing how our products are incorporated into some of the Middle East’s most luxurious design projects.”
Business of Light NPO launched
(USA) – A new non-profit organisation, the Business of Light, has been launched to create a new educational platform for shared knowledge and training, and to grow and strengthen the lighting industry.
With a goal to empower individuals through education and mentorship to grow and sustain lighting businesses, the organisation was formed in honour of long-time lighting design icons Barbara Horton and Stephen Lees. As well as designing award-winning lighting projects, Horton and Lees spent much of their time throughout their lighting careers focusing on the business of design and mentoring next generation leaders.
The Business of Light (BOL) has brought together a prominent team of lighting industry leaders to fulfil this vision, including: Chip Israel, Steven Rosen, Carrie Hawley, David Ghatan, Anna Sbokou, Katherine Stekr, Tom Warton and Maggie Giusto, alongside Stephen Lees and Barbara Horton.
Since forming, the BOL is in the process of developing a series of business focused educational workshops and webinars with professional consultants on various topics on a subscription basis. It has also launched an online survey, through which the organisation hopes participation will inform its programme for the business learning platform. The survey can be accessed here.
The BOL is also collaborating with the IALD, and will hold a “Leaders as Coaches” business workshop at IALD Enlighten Americas later this year.
John Cullen Lighting appoints new CEO
(UK) – Herman van Driel has taken over as CEO at John Cullen Lighting, the company has announced.
The experienced Managing Director joins the company, bringing his strong knowledge and expertise in start-ups, company development, product manufacture and business strategy within the lighting industry. His previous experience at both Orluna and Phos will ensure that van Driel fits in with the passionate team of lighting professionals at John Cullen.
Creative Director, Sally Storey, said: “Herman’s arrival represents a milestone in the continued development of John Cullen into a global brand. The LED lighting revolution might now be well established but there are still plenty of opportunities to shine within this... so watch this space.
“Herman’s proven track record of growing businesses, coupled with our experience of 40 years of lighting design and producing luminaires that “inspire with light”, represent a rare set of skills in the industry. Our aim is to grow the business with our unique products and services for the residential, hospitality and marine sectors. Discreet luxury lighting is at the heart of what we do and with Herman onboard, we look forward to creating even more exceptional lighting effects with our end-to-end service.”