Matt Waring

Opus by Omniyat, UAE

The marriage of Zaha Hadid’s iconic architectural vision, and the ever-expanding opulence of Dubai would seem to be a perfect match to most architecture aficionados. This dream pairing was brought to life with the completion of the Opus earlier this year.

Home to the new ME Dubai Hotel, the Opus is located in the Burj Khalifa district adjacent to Downtown Dubai and Business Bay on the Dubai Water Canal. Exploring the balance between solid and void, opaque and transparent, interior and exterior, the design was presented by the late Zaha Hadid herself way back in 2007, and is notable in that it is the only hotel in which she created both its architecture and interiors.

Spanning 84,300sqm, the Opus was designed as two separate towers that “coalesce into a singular whole”, taking the form of a cube. The cube has been “eroded” in its centre, creating a typically Zaha Hadid free-form void that is an important volume of the design in its own right. The two halves of the building on either side of the void are linked by a four-storey atrium at ground level, as well as an asymmetric, 38-metre-wide, three-storey bridge 71-metres above the ground.

“The precise orthogonal geometries of the Opus’ elemental glass cube contrast dramatically with the fluidity of the eight-storey void at its centre,” explained Christos Passas, Project Director at Zaha Hadid Architects.

The cube’s double-glazed insulating façades incorporate a UV coating and a mirrored frit pattern to reduce solar gain. Applied around the entire building, this dotted frit patterning emphasises the clarity of the building’s form, while at the same time dissolving its volume through the continuous play of light varying between ever-changing reflections and transparency.

The void’s 6,000sqm façade is created from 4,300 individual units of flat, single-curved or double-curved glass. This curved façade was designed using digital 3D modelling that also identified specific zones that required tempered glass. During the day, the cube’s façade reflects the sky, the sun and the surrounding city, while at night, the void is illuminated by a dynamic light installation of individually controllable LEDs within each glass panel.

The lighting design for the exterior void was developed by dpa lighting consultants, who were asked to provide “an interesting and practical solution to the façade lighting, and to take into consideration the visual appearance during the day and night, and the desired seamless appearance and integration into the façade,” explained Michael Curry, Senior Associate at dpa lighting consultants.

A critical design consideration for dpa was to ensure that the lighting equipment did not detract from or compromise the beautiful, smooth flowing form of the internal void. Maintenance and energy were also important considerations, as well as the infrastructure and integration into such an elegantly detailed façade.

Curry continued: “The void forms an important volume and canvas to which the lighting could complement by only lighting this void, leaving the outer body of the building to sit like a monumental mirrored sculpture. Our intentions were to provide dynamic lighting options with the LED pixels being used to create visual interest that could be used on a day-to-day basis as a sophisticated solution or subtle and soft colour, through to providing more dynamic event lighting solutions and specific designs used for specific dates within the UAE and world calendar, for example.”

For dpa, the project spanned several years from concept to completion, first joining the project in 2013, with various interesting challenges to illuminate such a unique and complicated piece of architecture. And while the brief called for a relatively simple solution, Curry added that “there was a lot of detailed work carried out post-design stage with the manufacturer’s design team with regards to visual and technical development”.

As such, dpa collaborated closely with ZHA and other team members, alongside lighting manufacturers Vexica to develop a unique, bespoke product that would integrate seamlessly into the façade of the void. This resulted in the installation of 5,000 individually controllable 1.5W LED ‘points’ of light, which provide a sophisticated and dynamic lighting solution. Using Pharos’ DMX lighting control system, programmed by Creation, enabled unique tailoring of the content, with the LED ‘pixels’ acting as a creative tool with which to paint light across the inner void of the façade.

Inside, the ME Dubai hotel incorporates 74 rooms and 19 suites, while the Opus building also houses office floors, serviced residences and restaurants, cafés and bars, including contemporary Japanese robatayaki restaurant ROKA and the Maine Land Brasserie.

Typical Zaha Hadid flourishes and themes permeate the interior of the Opus, as undulating curves and unusual shapes feature throughout the building. 

While dpa lighting consultants designed the lighting for the external void, the interior lighting design was developed by Illuminate Lighting Design. Rikus De Kock, Lighting Project Director at Illuminate, explained: “Illuminate was signed on the back end of 2014 to work with ZHA and our interior parent company, HBA, to take ZHA’s design direction and implement it for construction documentation.

“Opus was a bit different to our usual projects in the way that we typically have one lead design consultant and we just work with them on the lighting side. Here we had a very specific design direction from ZHA that included the overall lighting mood, and we had to work out all the technicalities with HBA to make it a reality.”

The brief for the interior lighting design, De Kock explained, came more in a “language of renders and visuals”, rather than a specific narrative. However, “through the visuals it was clear that the lighting design was extremely clean, with typical ZHA curved lines. The same language flowed from the rooms throughout the public areas.”

De Kock added that while the design changed during the timeline of the project, the overall intent of clean ceilings and curved lines remained the main focus. This is evident throughout, with the use of hidden linear fixtures creating flowing lines of light that seamlessly blend into the fabric of the building.

This feeling of flow is something that stood out to De Kock while working on the project – particularly considering the typically atypical interior design from ZHA. “It was refreshing to work on a design that is not typical,” he said. “I come from the theatrical side of lighting, and back then we deliberately strived to make everything unusual. A typical ZHA design is always ‘flowing’, and the form of the design is a driving factor. Once you get into the ‘flow’ of the design, it is quite remarkable how the lighting design just follows.

“The main challenge was to match the technical specifications of the lighting to match the design intent and still achieve the correct lux levels where needed. Luckily in the age we are in with lighting and technology, we could overcome this quite easily.”

While ZHA presented De Kock and the Illuminate team with a series of visuals to guide the lighting design, he explained that the entire process felt more collaborative, rather than the architects dictating what they wanted. “It was mainly a two-way street,” he said. “ZHA would provide us with the visuals of their design intent, and some elements of the lighting design were then ‘fixed’, so to speak.

“For example, if we had a cove or pendant in an area from their design intent, we would work to keep it, but we would also do the lighting study and add or modify the lighting where it was needed. We would then get back to the ZHA team with our comments. However, in some areas we had more of a free reign as the ZHA design was purely interior and no lighting was added, therefore we had to do the lighting concept based on that.”

In these instances, De Kock took inspiration from the wider work of Zaha Hadid to create a lighting scheme that would live up to the striking architecture. “I did a lot of studies on all of her designs, and how they evolved into the Opus,” he said. “As the actual architecture of the building is a masterpiece, I drew from that for the lighting design.”

Throughout the building, Illuminate specified a combination of spotlights and downlights from the likes of Reggiani, Ecosense, iGuzzini and LightGraphix to complement linear light strips from LED Flex. “The fixture selection was 100% driven by the design and technical performance that we had to get out of it to still make the lighting functional,” explained De Kock. “We wanted to keep it as clean as possible, and used low glare fixtures wherever possible.”

Although the fixtures specified by Illuminate were eventually value engineered out of the project due to budget restrictions, De Kock is pleased with the final outcome, believing that the “overall lighting design intent can be seen, and it complements the architecture”.

Indeed for a project such as this, so driven by the remarkable architecture and interior design, it is important that the lighting design doesn’t draw focus; instead it needs to serve as an accompaniment, highlighting Hadid’s beautiful architectural design. In both the interior and exterior lighting design, Illuminate and dpa respectively developed seamless lighting solutions, showcasing the latest jewel in the Zaha Hadid crown.

www.dpalighting.com
www.illuminateld.com

by Matt Waring

Private Company Workspace, USA

When it comes to modern workspace solutions, the world’s largest tech companies have long been seen to be leading the way. The likes of Apple and Google are regularly cited for their innovative workspace designs that veer away from the traditional office format for something altogether more creative.

This trend is once again on show in the renovation of Buildings 121 and 122 on the campus of one high-tech company in Redmond, Washington.

Formerly a labyrinth of formulaic private offices, the redesign opens the building out into an intelligent workspace built around an open office concept. The new look space blends plentiful natural light with dynamic artificial lighting, and was part of a move by the global tech company to bring the two buildings into alignment with its modern design philosophy, founded on the idea of creating welcoming atmospheres that are rooted in their local environments. 

As such, the newly designed buildings are inspired by two ecoregions within Washington State – the Olympic Rainforest and the Cascade Rainshadow – products of the two mountain ranges that flank the Puget Sound region. These regions are incredibly diverse – a few hundred miles from each other, one is characterised by tall evergreen trees, trailing mosses, fallen trees and filtered light, while the other features open views, deep gorges, caves and large expanses of open land dotted with barns and silos.

The architectural design therefore looks to explore the effects of light, form and materiality as interpreted through these lenses, while incorporating features that reference human activity and adaptation to these regions.

Integral to this is the lighting design; developed by Dark Light Design, the new lighting helps to convey a sense of place, while complementing the unique design and personality of each building, using techniques layered for visual variety throughout.

Brought on board by B+H Architects, whom Dark Light had previously collaborated with on other projects, the lighting designers were tasked with creating “an engaging space for employees and visitors, that supports innovation and collaboration, meets the very aggressive design and construction schedule, and meets the client’s desire to provide a sustainable workplace,” explained Jill Cody, Principal of Dark Light.

In the middle of this, Dark Light had to ensure that the new scheme would be in keeping with the wider design philosophy of the company. Kristen Hagland, lighting designer at Dark Light, explained further what this philosophy entails: “The philosophy is grounded in creating engaging, comfortable spaces that are accessible to everyone.

“There is a natural and familiar design language that is rooted in its local environment, but that also reflects the brand’s aesthetic. Work areas should be treated with great care and attention, rather than all focus being placed on gathering areas. Lighting is viewed as an essential tool to bring the right personality and atmosphere into each space.”

Because of this design philosophy that the client sought to instil into the fabric of the new-look buildings, the overall design schemes were developed in collaboration with the company, with lighting forming a part of that collaboration. However, because of a very short timeline – the project took just one year from design commencement to construction completion – Dark Light had no preconceived lighting concept. Instead, Cody said that “the design process was not a linear one, the design was very iterative”.

“While this meant that the design was still evolving even as construction was commencing, the entire team was in the same boat, so we all worked together to come up with solutions,” she added.

Although the renovation spans across two buildings, it was important for the design narrative to remain consistent between the two. As such, Cody explained that there are many common design elements between the two buildings, such as in the treatment of the open offices.

However, while there are some commonalities in design, she added that lighting design has actually been used as a means to differentiate between the buildings. A key example of this being found in the rectilinear conference room “huts”, that project out into each building’s central atrium. “In Building 121, they are outlined with a direct linear fixture that creates a graphic reveal of the room’s geometry, while in Building 122, the lighting detail is turned more inward, with indirect light to reveal the wood material while still gently highlighting the shape.”

Elsewhere, the buildings feature a blend of both architectural and decorative lighting elements. Large pendants in the breakout and casual spaces create a more relaxed, homely effect, while the open office areas are illuminated by a mixture of downlights and suspended linear fixtures from the likes of CSL, Reggiani, Tech Element and Vode.

In these areas, Cody believes that by keeping the lighting arrangements flexible, it can help to foster a more fluid, creative environment. “In this case, as in many other workplaces, the open office areas need to be flexible to allow teams to move and restructure as necessary,” she said. “We needed to provide adequate light throughout each workgroup’s space (which weren’t always regularly or efficiently spaced) to allow that flexibility.

“The existing structure’s low ceilings provided an added challenge. The architectural team developed a scheme with punctured openings to the acoustic ceiling clouds. The low ceilings, coupled with the irregularly located openings precluded the use of an indirect lighting solution, yet we still wanted to create an interesting and engaging lighting solution. The rectangular frames, in different sizes, allowed placement of light where it was needed, and created a visual interest beyond the usual expected in an open office environment.”

By using a mixture of decorative and artificial lighting elements, at varying light levels and luminances, the lighting designers were able to bring a sense of variety to the space, creating a number of new zones, each with their own ambience. This is something that Cody feels was an integral part of their design approach.

“One of our big concepts was providing visual variety to employees and visitors – especially employees, who spend a great deal of time in these facilities,” she said. “Designing different types of lighting in terms of light levels, fixture luminance and contrast in the space is important to us, so that employees have a chance during the day to experience some visual relief when they leave their team space to go to a meeting or take a break. That may mean a relatively low light level in a lounge space, more luminous light sources in communal collaboration spaces, or higher contrast in circulation spaces.”

The use of a non-standard grid-like layout for the lighting within the open office areas adds additional moments of intrigue even from outside the building, with the arrangement of fixtures creating a fascinating pattern of light.

Dark Light’s artificial lighting designs are complemented by vast skylights within the inner atrium of each building. However these skylights were a new addition, implemented by B+H Architects, alongside contractors Howard S. Wright. Prior to this, the building was incredibly dark, with little to no natural lighting in the innermost areas of the building.

To create these monumental skylights, B+H Architects used a series of daylight studies, along with a robust Revit model to create an immersive virtual reality experience for the client, which also allowed the entire design team to collaborate on the size, shape and feel of the new atrium spaces. The architects and contractors then had to cut through the structural slab of the building, across three floors, to create the airy new atriums that vastly improve the flow and feel of the spaces.

Dark Light complemented the new skylights by introducing daylight responsive lighting controls throughout. This helped contribute to the new lighting scheme aligning with the client’s high value on sustainability, while lighting power consumption is also 20% lower than Washington’s rigorous energy allowance.

In recent months, the world has entered into a state of uncertainty, especially surrounding the role of the workspace, as companies around the world have been forced into working remotely. However, as the signs of a post-Covid world are slowly starting to emerge, Cody believes that open office concepts, such as can be seen here, will continue to be the norm for workspace design, as long as they remain flexible.

“What we are seeing now is an even harder push toward reconfigurability in open office spaces,” she said. “Design teams are being asked to provide layouts for Covid and post-Covid configurations. Any lighting scheme that is tied to a furniture layout seems doomed. Although I personally don’t think the physical office is doomed, I do think that a post-Covid world will definitely have more video conferencing than before – so we need lighting that addresses that, and we need to continue to look for ways to make sure that people of all skin tones look good on camera.”

Since completion of this project, Dark Light has received a great deal of praise within the lighting design community, including an IALD Award of Merit at this year’s IALD International Lighting Design Awards. And for good reason – being given the task to create a workplace that supports innovation and promotes sustainability, and does so in a dynamic fashion, is no mean feat, but Dark Light has achieved this, creating a lighting scheme that complements the new architectural additions, and enhances the space for both visitors and employees alike.

And Cody was eager to share the praise with the rest of the design team involved. “We had an amazing team of collaborators all around,” she said. “The architects, interior designers, landscape architects, electrical and general contractors and owner were all part of a team that had to work nimbly throughout design and construction.

“We were fortunate that they understood the importance of lighting, both from a technical and experiential standpoint, and that helped develop the amazing space that resulted.”

www.darklight-design.com

by Matt Waring

Neue Direktion, Germany

In a bid to create a perfect symbiosis of old and new, Neue Direktion, housed in the former Directorate of German Railways in Cologne, fuses traditional architecture with modern design to create a striking new feature in the German city.

Situated in an open area directly on the Rhine and in the immediate vicinity of both Cologne Central Station and Cologne Cathedral, Neue Direktion was rebuilt according to the design of the kadawlttfeldarchitektur office, in cooperation with Graf + Graf Architects. Based on both the new and old architecture, Licht Kunst Licht has developed a lighting concept that highlights the historic charm of the building with a splendid light, while also providing a flexible, modern lighting concept for the office spaces. In all areas, it was important for the lighting solution to remain hidden in the background, instead letting the architecture itself shine.

Under the premise of “tradition meets modernity”, planners Hochtief Projektentwicklung alongside the architects, sought to redesign the former railway directorate in a way that would pay homage to the strong historical context of the site, while still creating a fresh, modern appearance within the context of Cologne’s Rhine panorama.

As such, the renovation follows a fine line between the preservation of the listed building and its historical façade, and the creation of a completely new, contemporary roof level, whose silhouette pays tribute to the original roof contours.

With the interaction of the neoclassical original façade and the new glass structure, the Neue Direktion sets an architectural precedent in the Cologne Rhine panorama. Four of the seven floors of the building sit inside the historic shell, while 30,000sqm of office space has been created within a modern and flexible office infrastructure. The development on the property was planned and built in accordance with the sustainable criteria of the German Sustainable Building Council, and was awarded the DGNB Gold Standard for Sustainability in October 2016. The European Aviation Safety Agency (EASA) has been renting the office spaces since May 2016.

Inside, both the architects and Licht Kunst Licht worked in close cooperation with the Department of Cultural Heritage Protection on the interiors. The impressive, historic entrance hall, the large ceiling oval and the grand staircase are some of the architectural features that have been faithfully recreated. In all instances, per the Department of Cultural Heritage Protection’s instructions, there were deliberately no visible lighting fixtures. Instead, Licht Kunst Licht worked on custom designs for the best possible integration of light into the architecture.

Because of its stringent requirements, the lighting concept for the entire building was planned in close coordination with the Department of Cultural Heritage Protection, and therefore also the architecture. Such close collaboration however, provided some challenges for the lighting designers, as Benjamin Dorff of Licht Kunst Licht explained: “The light concept was planned with the Department of Cultural Heritage Protection, which in some cases meant that it was not easy to meet current lighting standards.

“We had difficulties agreeing on the positioning of the luminaires in the historical entrance area, for example. The old placement of the luminaires had to be fulfilled, and at the same time we had to make sure that the new lighting standards regarding lux levels and uniformity were achieved.”

The positioning of the luminaires meant that the light sources are always in the background, with ambient light instead emphasising the charm of the building. While working in a pre-existing, historical building might have caused some difficulties for the designers when it came to placing these fixtures, Dorff explained that, in this instance, it was relatively simple. “Since the building was completely reconstructed from the inside, we had all the possibilities we needed to integrate the best possible lighting solutions.”

The clean lighting concept continues throughout the building, in the conference rooms and workspaces, in order to create a pleasant and refreshing working atmosphere with a glare-free, yet powerful light. The modern lighting, consisting of a uniform grid of nearly invisible linear downlights from the likes of iGuzzini, Hoffmeister and Insta, enables a very dynamic use of the open-space meeting zones. These downlights are complemented by linear fixtures from LED Linear in the conference rooms and the ground floor foyer. Using intelligent light control, users are able to adjust the illumination levels to flexibly adapt to the room’s usage purposes, and the associated room layout. 

Dorff continued: “To obtain the flexibility of workspaces, we decided on a grid of fixed and almost invisible recessed luminaires in the meeting areas and fixed pendant luminaires in all office spaces. The arrangement of the luminaires always follows the rhythm of the façade and provides a homogenous picture from the outside.”

The discreet general lighting continues in the bistro, where it is supplemented by Prolicht’s Super Sign round surface-mounted fixtures, whose colours correspond to the interior finishes.

Thanks to the minimalist architecture and well-planned lighting design on the modern additions to the building, there is a spectacular view of the Cologne Cathedral on one side, and the Rhine with the Hohenzollern Bridge on the other. Glass office façades recede behind band-like aluminium cladding, opening up roof terraces, while the uppermost conference room offers 360-degree views over the rooftops of Cologne; this space meets its various usage requirements via the different lighting scenes developed by Dorff and the Licht Kunst Licht team.

Simple courtyards in the core of the building feature huge art screens, which are illuminated with homogenous, well-shielded lighting, courtesy of We-ef. The building’s façade meanwhile, is illuminated by spotlights, which are mounted to the existing street poles for road traffic. The entrance portal, which consists of historic columns, is highlighted by additional accent lighting, again courtesy of We-ef.

While the hidden lighting fixtures help to emphasise the impressive architecture and interior design of the building, it was also important that attention was paid to the plentiful natural light on offer. “All spaces with access to natural light have daylight sensors, which in most cases only makes use of the well-hidden artificial light necessary in the evening,” Dorff continued.

“The building appeals with its huge open spaces with lots of light during daytime. During night time, the artificial light takes over, and due to the well-hidden fixtures, it was possible to create a smooth and almost unrecognisable transition from day to night time.”

By creating this smooth transition, and harnessing the available natural light, Licht Kunst Licht have greatly contributed to creating a workspace that offers a harmonious relationship between daylight and artificial light – a relationship that is becoming increasingly important as workers are spending more time indoors, away from natural light. Much like the balance between historical and modern architecture, the balance between natural and artificial light helps to create a pleasant working environment for employees.

www.lichtkunstlicht.com

by Matt Waring

Fidelity International, UK

As modern workspace design continues to evolve, there has been a gradual shift towards creating more holistic, welcoming environments in which employee wellbeing is paramount. Through the introduction of cosy breakout spaces, private working areas, soft furnishings and warmer colour temperatures, more and more offices are stepping away from the staid uniformity of the past for something altogether more inviting.

This approach is evident at Fidelity International’s new UK headquarters on Cannon Street in London, where Nulty has recently completed a WELL certified lighting scheme. Working in close partnership with Fidelity, alongside architects AEDAS and engineering consultants Hilson Moran, Nulty has designed a lighting solution centred around employee wellbeing for the global investment company’s 108,000sqft office space.

“From the outset, the intention behind the project was to improve the client’s current workspace and create a comfortable environment for its employees,” Kael Gillam, Senior Lighting Designer at Nulty explained. “Increased light, higher ceilings, better technology, more surfaces on which to display their art collection: these were just some of the elements that spoke of a desire to increase employee wellbeing and activity. 

“The design of the working floors was conceived to maximise daylight ingress and one of our key roles was to supplement the light levels in the deeper plan areas to give the overall scheme a sense of balance. We also strongly believed in the design of the quiet rooms and the café, encouraging use of these spaces for respite in what can often be a hectic day for employees.

“Our goal was to make sure that the lighting design within each space had its own identity, and in doing so give employees a variety of different options depending on whether they are looking to work or relax.”

Fidelity International features a blend of office floors – which house a colourful mix of relaxed and formal working areas including collaborative and private working zones – and additional areas that include client-facing meeting rooms, lounges and two media studios for the company’s video and audio broadcast. Nulty’s final design solution was rational in its response, circumnavigating the practical lighting needs of the workplace with Fidelity’s overall vision for the day-to-day wellbeing of its employees.

Gillam explained: “The initial brief for the lighting called for a very multi-faceted design narrative, with a strict distinction between the client-facing areas and the working floors. Colour psychology played a big role in the design of the space; a lot of the early reports that we received broke down the relationship between different material palettes and people’s traits and behaviours. Because of the richness of the interiors, the lighting had to play a role in celebrating the different finishes and treatments, while not appearing too disconnected from space to space.”

From the outset, Nulty worked closely with the client team, and examined lots of research, such as colour therapy insight, to guide the lighting design. This approach is something that Gillam feels differentiates Fidelity International from other workspace projects that Nulty has worked on. “The colour research and how we approached each different space was a response to the rationale that informed that particular material palette, while the brief from the client team, made up of representatives across different departments, guided us as to what parts of the office needed to be really honed in on to make the day-to-day experience simpler and more enjoyable,” she explained.

While catering to the multi-faceted design narrative sought after in the initial brief, Nulty kept its design intent relatively simple – a recurring motif of linear lighting runs throughout the building, connecting the main reception, open plan working areas and meeting rooms. Nulty commissioned a bespoke light-insert from LTS, designed to meet WELL requirements and deliver a high colour rendering for enhanced visual acuity. This linear concept was used in conjunction with adjustable recessed downlights from Modular and Kreon, diffusing light from both the centre and perimeter of the ceiling to create the perfect contrast ratio for day-to-day working and video conferencing. 

On the fifth floor, where a glass skylight has been used to bring natural light into the room, the light-insert has been incorporated into the central spine of the ceiling. The team used tunable white linear LEDs to match the outside colour temperature with the interior of the room, allowing it to be adjusted from cooler lighting on a bright day to warmer lighting at sunset.

To contrast with the rectilinear design seen throughout the building, Nulty softened the aesthetic in casual breakout spaces and communal areas with copper and ceramic pendants from Marset, designed to create an environment that encourages downtime and relaxation. The client-facing meeting rooms were also given a gentler touch in some spaces, trading out the graphic linear line of light at the border of the room for a glowing circular stretch fabric feature, again courtesy of LTS. Pendants from Vibia were also added to the café area, producing a false-skylight effect in the only pocket of the working floors where natural daylight could not be found.

“The differentiation between linear and softer ambient lighting allowed us to distinguish spaces within the scheme,” Gillam said. “We picked out very rich colours and metallics for the pendants as a way to differentiate the more relaxed breakout spaces from the open plan working areas. The more you encourage someone to take a lunch break, and not to eat at their desk, the better job you’ve done as a designer.

“Interestingly though – and despite our best intentions – we’ve noticed post-commissioning that people prefer to use the quiet rooms without any overhead lighting on at all, or with the wall lights pressed up against the wall to create a really dim halo of light. We’ve managed to create something so cosy and personal that people prefer to be in near-darkness with an almost candle-lit glow in their periphery.”

While designing the lighting scheme, Nulty also had to be mindful of Fidelity International’s extensive artwork collection – although strangely, the artwork was not intended to be a focal point, instead blending into the fabric of the building. “The funny thing is that a key consideration was the installation of the artwork collection, but we weren’t meant to draw attention to it – just allow it to blend in with the environment,” Gillam explained. “There’s a vast array of both classic and A/V installation art throughout the building, so we had to consider viewing angles, colour fidelity and glare with our unobtrusive design scheme.”

Throughout the design process, Nulty worked closely with the interior design team, regularly sharing ideas about the creative direction of the project, as Gillam revealed: “In the beginning, the interior designers proposed more creative features like geometric copper or leather padded walls, but a lot of the discussions with the interior design team were stricter in terms of lighting. However, by having these conversations, we learnt how to open up that dialogue. We did so much of the later design hand-in-hand; there was a pretty clear intent for how the interior design team wanted the lighting to function in the space, but they weren’t prescriptive at all, which allowed us to explore different ideas.

“We knew pretty early on in the redesign that we had to specify high CRI/R9 value luminaires to achieve the credits we were targeting, and the interior designers were understanding about the restrictions this placed on what we could and couldn’t do in various areas.”

The WELL credits that Gillam and the Nulty team were targeting mean that the workspace is much more attuned to employee wellbeing, with the lighting design helping to create a more pleasant ambiance for staff. This is a trend that is gaining serious traction, particularly in workspace projects, and Gillam believes that it is an important development. “I think employee wellbeing is becoming more of the norm, which is great,” she said.

“We get asked about green walls and circadian lighting (defined in a different way each time) for almost all of our office projects now – even at the RFP stage – so you know it’s in the client’s mind as a pre-requisite, and not an afterthought.

“When you get into the nitty gritty of what the different standards and certifications entail it can be a bit daunting for everyone on the team, but I’ve never seen the difficulties become a total stop block to a project where everyone wants to prioritise wellbeing. I’m a very strong believer in certifications that focus on educating people about the built environment and giving them opportunities in their workplace and community to do better for both themselves and others.”

This approach has resulted in a lighting scheme that, while appearing relatively simple on the surface, blends in with the interior design to create a pleasing, yet functional space. Gillam explained: “I think it’s one of those projects that looks deceptively simple, but in actual fact disguises the backbreaking work that went into making it look as effortless as it does.

“In an office space like this, the lighting design isn’t meant to be front and centre, it’s meant to stitch together the rest of the design and allow the space to function in the best way that it can. For us, it’s the combination of daylight harvesting and place-making with a minimalist design aesthetic that will stand the test of time. And I’m pleased with that narrative.”

Looking ahead, while the trend of creating workspaces that promote employee wellbeing is gaining momentum, there are understandably questions being raised about how workspaces will change in the wake of the Covid-19 pandemic – whether this will create more isolated spaces or put an end to the open, collaborative areas. However, amid this uncertainty, Gillam is intrigued about what the future will hold for workspaces: “It’s both really exciting and terrifying to think about how office design is going to be moulded by the realities of the pandemic,” she said.

“Colleagues have told me about the governmental mandates in mainland Europe for acrylic partitions between desks and I’ve seen pictures of school cafeterias in South Korea with each individual seat cordoned off with plastic inserts. 

“Perhaps the greatest hope I have for all of this is that we focus more on spending time outdoors and developing flexible working hours. I know that sounds odd coming from a lighting designer, but if we can shift to a less rigid 9-to-5 mentality, then people will be able to get more daylight exposure, time with their families and generally be happier. Isn’t that what we all want?”

www.nultylighting.co.uk

by Matt Waring

Spielfeld Digital Hub, Germany

For many modern workspaces, one of the key ambitions for clients is to have a space that will foster creativity and inspire innovation. But how can lighting design help to create such an environment? This was the challenge that Studio De Schutter was tasked with, working alongside architects LXSY on the Spielfeld Digital Hub in Berlin, Germany.

Situated in a former post office, Spielfeld Digital Hub combines open work areas with event spaces in an environment atypical to the usual office space. With the brief for an office that “promotes innovation”, Sabine De Schutter, Founder of Studio De Schutter, explained how this impacted on the lighting design: “Our design process is about understanding user needs. Our key takeaway, from the design sessions with the client, was the need for flexibility.

“Innovation is an unpredictable, agile process that requires adaptability. From an architectural and lighting point of view, this is allowing the user to adapt their space. Secondly, changing the space should be super convenient otherwise no one does it. For us, this meant looking at systems that would allow both the hosts of the space and the workshop teams to adapt the lighting in brightness, orientation and location.”

To create this flexible scheme, De Schutter ensured that the entire lighting system is Bluetooth controllable, meaning that the lighting can be dimmed via an app, as well as traditional switches. Meanwhile aimable spots and tracks offer an infrastructure that can expand and change – all of which contributes to an extremely user-friendly set up that De Schutter feels will help in the client’s ambition to use the space to inspire innovation.

“To facilitate innovation, you need multidisciplinary teams, collaborative workflow and flexible workspaces,” she said. “Lighting helps in this process by creating moods. The settings you use can make a team feel more aligned and have a positive impact on collaboration. Creating that atmosphere to collaborate, communicate and concentrate is something that lighting has the potential to do.”

Throughout the design process, Studio De Schutter worked closely with LXSY – an architecture firm that De Schutter has worked with on a number of projects – collaborating to develop a space that matched up to Spielfeld’s aspirations.

“We have worked with LXSY on a number of projects. We know each other’s process and have a common goal: participatory, user-centred design that aims to think differently,” De Schutter explained. “We all bring ideas to the table, whether they are about materials or colours or how to integrate or mount something, and in our collaboration we both influence each other.

“It was very clear from the start that the client wanted to differentiate themselves from the usual Berlin start-up co-working space, not the coffee shop style bare bulbs or the usual office-like lighting. Through our collaborative process with the architects, Spielfeld and their clients, we found a direction and style.”

The style that the design team opted for became cleaner and more minimal over time, bringing a contemporary feel to the listed building, while still paying homage to its historical status. By revealing the original structure inside, and using a clean, simple colour palette, the architects and the Department of Listed Buildings hoped to bring back the historical charm of the space. Further to this, the lighting was used as a means of complementing the architecture, rather than taking focus away from it.

“The idea was to be minimal and not compete with the building,” De Schutter continued. “The spaces themselves are very flexible, and we provided very flexible lighting. As lighting designers, our goal is to make the architecture stand out and to make the user feel good. The better we are at our work, the less people notice us, unfortunately! All they notice is that they feel good in a particular space.”

However, because of the listed status of the site, it complicated matters for De Schutter when it came to actually installing the lighting fixtures. “Working within an existing building does have its limitations, and keeping the character of the building while changing its ultimate purpose was a challenge. Naturally, we could not mount any fixtures on the exposed pillars and beams,” she said. “Also, there are no recessed ceilings, except for the event space, to maintain the character of the building. Therefore integrating fixtures was not even an option. Our entire lighting system is surface-mounted, from fixtures to plugs to Bluetooth modules.

“Surface-mounted lighting also means surface-mounted cabling. So in projects like these, we even design the cable layout, making sure that this was out of view and not left to change.”

Throughout the space, Studio De Schutter used surface-mounted track lighting from formalighting in the form of its 3-phase track and Zero Compasso 66 directional spots, alongside RZB’s Levido Round downlights, both complemented by LEDs C4’s Pipe and Circular pendants.

This combination of lighting options helped the design team to facilitate an environment that combines both traditional workspaces with event spaces – a hard balance to reach, but one that De Schutter feels will become a lot more prevalent in the workspaces of tomorrow.

“The combination of workspaces with event spaces is something that we see more and more of in contemporary workspaces. Offices in general are less a space to produce work and more a space to exchange ideas and meet your team. Lighting is less something that is purely functional and follows norms, instead it becomes more an element that reflects the identity of a company. The track fixtures help here to create an intimate and warm mood, away from the standard office lighting.”

As specialists in creative workspace lighting, Studio De Schutter is used to developing lighting designs that eschew the traditional template for offices, instead creating more fluid schemes in line with modern workspace requirements. “It’s all about understanding what flexibility means for the client,” De Schutter explained. “It’s not about having tracks and spots, it’s about providing different lighting layers and an appropriate infrastructure. We think about lighting in terms of scenarios, and as part of the user experience.

“With lighting, we aim to add some ‘Corpitality’ to the workspace. This is hospitality mixed with the values and corporate identity that the workspace represents. It’s not just about adding the logo somewhere. For Spielfeld Digital Hub, the lighting is an extension of the way they work, of the affinity for digital tools and their values.”

At the time of writing, the world is slowly starting to return to normal following the Covid-19 pandemic and ensuing global lockdown. However, one factor that will invariably be different in the future will be the role of the workspace, with workspace design no doubt changing drastically.

However, De Schutter feels that this change is something that started before the pandemic even struck. “The role of offices is going to change in general, but the trend already started some time ago, with co-working,” she said. “Co-working spaces will now have more private and less open working areas. They will become hubs for larger corporations. In terms of lighting, this will mean catering to this typology, and to different clients in one building.

“Also, workspaces will be more for teams and to create and foster team spirit, instead of a representative space for clients. I believe that we will see more creative lighting solutions, instead of traditional office lighting.”

Creative lighting solutions like that found at the Spielfeld Digital Hub. Throughout the building, while the lighting clearly serves its functional purpose, it doesn’t call to mind the stale, boring, traditional office lighting of the past. Instead it is an altogether more modern, inviting scheme that creates a feeling of warmth and creativity – an approach that De Schutter feels will be essential to the workspaces of the future.

“The lighting design for Spielfeld is warm. What I like is, you wouldn’t associate this atmosphere with office lighting,” she exclaimed. “There is no diffuse lighting at all. We want to create workspaces that don’t want to be ordinary!

“For us, design is about creating meaningful spaces that positively affect people’s lives. We love working on workspace lighting because most people spend the majority of the day in boringly lit, functional spaces. We think it’s time to change that.”

www.studiodeschutter.com

by Matt Waring