Atlantis The Royal, UAE
With its unique façade, the Atlantis The Royal hotel is the latest addition to Dubai’s ever-expanding skyline. Light Touch PLD was tasked with illuminating the mega structure and its luxurious interiors.
At the edge of Jumeriah Palms, the extravagant Atlantis The Royal Hotel crowns the shoreline as the newest landmark of luxury resorts of Dubai. Its peculiar shape of bridging towers contests the more conventional neighbouring buildings that comprise Dubai’s skyline. Designed by some of the world’s greatest designers, architects and artists fashioned the building on the myth of Atlantis, an underwater world, to create a narrative in conjunction with its sea-front location.
The hotel takes the luxury resort experience to new heights, spanning 406,000sqm across 46-storeys. This is the hotel where guests can live among the clouds in its expansive terrace space, private balconies and pools, and a sky garden supported by the 500-metre-long and 178-metre high “mega” structure positioned on the outer crescent of The Palm Island. Within, the building offers various eateries and leisurely spots among its 795 rooms, suites and penthouses.
A design of this magnitude and grandeur needed a lighting design company familiar with such large-scale projects. Light Touch PLD fit the profile, with an extensive history of resort experience across the Middle East, therefore knew they could be trusted with the brief.
Paul Miles, Partner and Principal Lighting Designer at Light Touch PLD, says: “We received multiple briefs on the basis of the scale and various components of the project, working with a number of world-class architects, interior and landscape designers. KPF New York was the lead architectural firm that had an initial aspiration on how the building should appear by night.”
With water being the focal idea of the building’s design, the lighting design needed to not only coincide with the concept but also link features, aspects and even people in connection with the narrative. Working with globally renowned architects like KPF New York required a close collaboration, therefore the night-time appearance was integral to bring the architect’s vision to life. The hotel has an incredible, unique façade that lends itself well to the use of linear lighting along the straight edges. The lighting is therefore designed to develop layers, to simply light the forms of rectilinear stacks, with the ability to adapt the colour as necessary.
“There was a big reliance on the balcony lighting to offer life and activity on the block ends,” Miles adds. “Due to the organic nature of the building, our role was to offer depth and life to these facias to give the impression that there was life beyond considering these are actually sheer walls. Three lighting treatments were offered to achieve this: the outline to offer the far vista accent, a subtle wall wash to the front of the terracotta slats and integrated LED to the false vision panels to offer depth and life to the facias.”
The building’s balconies played a huge role in how the light was perceived at night. Light Touch PLD created a bespoke product to achieve a soft indirect wash to each partition sheer, where each balcony is naturally controlled by the in-house guest. GRMS systems within the building give the landlord and client the ability to override the local control and have access to change the balcony lighting for specific events.
The Myth of Atlantis was the central theme across all aspects of the project, a task that can be conflicting when trying to harmonise both a theme and an ultra-luxury feel. However, the attention to detail was quintessential to create an experience for everyone inhabiting the hotel, this includes back of house and staffing areas. Light Touch PLD credits both the owner and the developers of the property, ICD and operators Kernzer, who felt the staff areas were just as key as the guest experience.
A project that has been 10 years in the making was bound to face a multitude of complexities and challenges throughout. For instance, time is arguably intrinsic to change; team members and management evolution was inevitable, each bringing new designs and protocol to be implemented and adapted. Time also allows external factors to come into play such as construction complexities and, of course, the pandemic. However, this unconventional project would have the material to create solutions in unconventional circumstances.
Teresa Enroth, Principal Lighting Designer at Light Touch PLD, says: “At the time, developing the lighting market was both a challenge and an opportunity. The main design phases lasted from 2015 to 2019, with updates and changes continuing into 2022. The opening date was pushed back due to the complexity of construction coordination and the pandemic, but Light Touch PLD was present on site with dedicated personnel from 2018 until after the opening in 2023. Having dedicated lighting design construction administration is uncommon but critical for a project of the size and scope of Atlantis The Royal. Considering the specifications were created six to seven years prior to the opening, we are very proud that the outcome still reflects a new project as if it was specified yesterday.”
The other-worldly nature of The Atlantis meant extravagance was taken to max, which came with the biggest challenge for the lighting designers – scale. Miles explains: “Whether it’s lighting the world’s largest jellyfish tank, illuminating a skull DJ booth, or figuring out how to illuminate an acrylic pool... this is only to name a few, as there are so many unique aspects to this project that we could go on forever. With years and years of experience in the market now, overcoming challenges is what we like to do best.”
Sophia Stezenko, Principal Lighting Designer at Light Touch PLD, adds that the nature of the curving architecture, and thus the interiors, required some diligence in alignments and fixture selection. She says: “Some structural constraints, particularly during the post-contract stage, necessitated additional reviews and re-design in some areas, such as the façade and sky pools, to accommodate placement issues.”
Light Touch PLD has said its philosophy is that lighting design is a complimentary factor and that its job is to create an atmosphere and highlight the elements. With more than 40 manufactures supporting the project and hundreds of product types due to the diversity of the design styles within the building, this meant extensive testing of a multitude of aspects in finding the right fixtures. Miles believes that the dimming stability was critical and a major challenge with LEDs. The key was conducting extensive tests on a range of devices to ensure smooth dimming.
After 10 years of diligence, obstacles and external setbacks Light Touch PLD ensured the initial design was achieved. Not only has the lighting designed fulfilled a very happy client’s wishes, but also illuminated the hotel to create the grand palace the designers had envisioned. Located 5km off the coast then, the hotel is a visible focal point from the Dubai Marina, thus taking the crown from the original Atlantis hotel as Palm Jumeriah’s focal landmark. When asked which of the lighting aspects impacts the grandeur of the hotel, Miles says: “It’s difficult to pinpoint one particular component that highlights this building; however, a common hidden compliment is when the most promoted images of the project are at night; the façade tips the balance here.”
Key team promotion for Lighting Design International
(UK) - Lighting Design International has announced the promotion of one of its team’s senior designers, to the role of associate. Sandra Brookes will assume the role with immediate effect, strengthening the practice’s 20-strong senior management team.
A trained architect and lighting designer, Brookes has more than 20 years’ experience in the lighting industry. Since joining LDI in 2017 she has worked on a diverse range of projects, from luxury residences, superyachts, high-end restaurants and exclusive 5-star hotels worldwide.
Brookes trained at The Bartlett School of Architecture and – being fluent in Spanish – studied at the Unversidad de Los Andes, Colombia, where she gained valuable insights in her architectural studies. Brookes was given the opportunity to study in the Danish Royal Academy of Arts, where she continued her architecture training.
It was in Denmark that she decided to pursue a career in lighting design, as the Danish sensibilities to light made her aware of its subtle yet powerful ability to change and enhance architecture.
Her notable projects include the Four Seasons Astir Palace Hotel in Greece, which won the Best lighting for the Bar & Restaurant Awards for the Avra Lounge, and the newly opened Four Seasons Hotel Doha, Qatar.
Sally Storey, Founding Director of Lighting Design International, said: “We are exceptionally fortunate to have Sandra as part of our team. Her international experience on a range of complex, high-profile projects, along with her unique talents and conceptual expression in lighting design, make her a real asset to the team. I would like to extend my personal thanks and congratulations to Sandra for a job well done and I look forward to seeing her take flight in her new role.”
On her promotion, Brookes said: “I’ve always had a passion for lighting design and have relished the opportunity to work on some fantastic projects that have indulged my creativity and problem-solving. I feel very much at home here at Lighting Design International – the team is so friendly, talented and passionate, it really does feel like we are part of something special.”
www.lightingdesigninternational.com
Grimanesa Amorós to headline LiGHT 23
(UK) – Internationally renowned light artist, Grimanesa Amorós will headline the [d]arc thoughts talks programme at LiGHT 23.
Taking to the stage on Tuesday 21 November, Amorós will present 'Illuminating Boundaries: The Exploration and Creation of Art Through Light', followed by a Q&A session with arc magazine's editor, Matt Waring.
Amorós is a Peruvian-born American multimedia creative whose work explores community connections intersecting history, technology, and architecture. Her keen understanding of structure enables her to create monumental sculptures incorporating various elements such as video, lighting, and electronic components to create immersive environments and connect the viewer to their surroundings.
Technology complements the concepts of her work without defining it – a medium of expression. Describing her work as a "constant romance with the unknown", Amorós first incorporated light into her practice following a fated trip to Iceland. While there, she saw the Northern Lights and realised the powerful ephemeral magic light held. She discusses light's ability to transcend social and geographic boundaries "we all connect to light."
Drawing upon critical cultural legacies and landscapes, Amorós is inspired by the communities she creates within. Installing and programming each piece on-site, direct interaction with the surrounding architecture is key to creating her work. "Ultimately, the piece connects the viewers, space, and light sculpture, merging them into one." Grimanesa Amorós' artwork ties the past, present, and future – pushing viewers to think beyond and challenging their initial perceptions.
Commenting on her involvement in the UK's only exhibition dedicated to lighting specification, Amorós said: "LiGHT 23 will be where those who love light can unite and convene about the latest tech and how light is being used. Join me for this year's LiGHT 23 to learn how light and art intermingle and how to live in 'A constant Romance with the Unknown'. I am looking forward to seeing you all.”
[d]arc thoughts, in collaboration with lighting control specialist Lutron, will take place on the Gallery level, in a dedicated conference space. Running for two-days as part of the wider LiGHT 23 exhibition, talks and presentations will focus on trends and innovation within lighting, while being moderated by arc and darc magazine editors as well as guest editors. All talks are completely free to attend, and the full talks programme will be announced in coming weeks.
Registration for LiGHT 23 is open now. Information on how to attend can be found here.
New Parents in Lighting initiative launches
(UK) – Parents in Lighting is a UK-based initiative aimed at creating a peer support network to provide assistance and resources for expectant and current parents in the lighting industry.
The initiative was established by Chloe Salvi, Lighting Designer at LightIQ, and Ruth Kelly Waskett, Project Director at Hoare Lea.
“It can feel challenging to navigate personal and professional life during some stages of parenthood. Having a support network of peers in the industry that have walked a similar path can facilitate this balance and assist individuals with their career growth,” says Co-Founder Salvi.
The pair are calling for parents and soon-to-be parents in the lighting community to take a short, five-minute, survey to gather more information and statistics on those with children in the industry. The survey can be found here: https://lnkd.in/eHYBmWrk
The initiative is also keen to hear of positive experiences from parents in lighting to be featured in a short issue of good practice examples. Email Salvi and Kelly Waskett at parentsinlighting@gmail.com to be involved.
IALD announces new Southern Europe chapter
(Southern Europe) - In ongoing efforts to support and advocate for lighting designers worldwide, the International Association of Lighting Designers (IALD) has established a dedicated chapter for Croatia, Greece, Italy, Portugal, and Spain, encouraging professionals in those countries to take part.
Joining more than 35 other chapters in the association’s network, IALD Southern Europe invites interested designers to become members of the IALD community and gain access to its array of programmes, events, and networking among over 1,500 industry colleagues.
Mônica Luz Lobo, IALD President, said: “The Association is thrilled to have a dedicated chapter serving these European countries and their immensely talented designers. We are certain that those who elect to take part in the IALD’s many conferences, seminars, educational opportunities, and professional gatherings will quickly recognise the value and benefit of membership.”
The new chapter will be overseen by four exemplary designers and members of the IALD community: Chiara Carucci, Associate IALD, from Italy; Anna Sbokou, IALD, from Greece; Dean Skira, IALD, from Croatia; and Martina Frattura, Junior Associate IALD, from Portugal.
Speaking from Salerno, Italy, Carucci said: “On behalf of the other four lead volunteer coordinators, I'm pleased to share news of the formation of the IALD Southern Europe Chapter.
“As IALD lighting designers, we recognise the role of our local associations, and by supporting them we aim to increase awareness of the profession of Lighting Design in our regions. The IALD chapters are inclusive groups that provide a platform for all involved – members or not – where they can engage and share to develop our community further, as this is everyone’s ultimate goal.”
In special recognition of this expansion, the IALD will celebrate the newly established chapter at IALD Enlighten Europe 2023, the upcoming lighting design conference event taking place from 30 June – 1 July in Berlin, Germany.
Designers interested in becoming members of the IALD and joining the new Southern Europe Chapter can find further details on the IALD website.
Registration opens for LiGHT 23
(UK) – Following the popularity of LiGHT 22, which saw more than 3,500 visitors attend to discover over 100 high-end international lighting brands, registration for LiGHT 23 is now live.
Taking place on 21-22 November 2023 at London’s Business Design Centre, LiGHT 23 will see even more exhibitors taking part than last year, with new spaces and exciting additions to the [d]arc thoughts talk programme. The show is brought to the industry by [d]arc media, built on the company’s and the team’s knowledge and experience of the lighting specification market that spans more than 20 years.
This year will see an increase in interior designers and decorative lighting brands both attending and exhibiting, providing an incredible opportunity for interior and lighting designers to discover new technologies, solutions and inspiration.
To fully embrace this design focus, an exciting new area for the 2023 show has been announced – darc space. The darc space focuses on decorative lighting in architecture, acting as the perfect place for interior designers and lighting designers to network, collaborate, provide inspiration and specify decorative lighting brands for their projects.
Situated in a prime position adjacent to the main conference room where the [d]arc thoughts programme will take place, darc space gives decorative lighting brands a dedicated area to shine. darc space will provide designers and specifiers looking for their next stunning light feature a one-stop-shop of decorative lighting brands to choose from. Acting as a key networking and meeting point throughout LiGHT 23, darc space will also feature a dedicated bar for the late night opening on the first day of the show, while hosting a complementary LiGHT Lunch on the second day.
LiGHT is overjoyed to be partnering with the British Institute of Interior Design (BIID) for the second year running. As a partner of LiGHT 23, the BIID team will be hosting a meet and great for their members and prospective non-members in the Associations Lounge on Wednesday 22 November. This is an incredible opportunity for those attending LiGHT 23 to meet with the team and harness the benefits that BIID can offer to interior designers.
BIID works with interior designers to offer professional guidance, educational and development support, speaking opportunities and networking events. BIID is the UK’s only professional institute for interior designers, representing both the commercial and residential sectors, from heritage to cutting edge.
Paul James, Managing Director from LiGHT 23 said: “We are incredibly excited to see what this year’s show will bring, following the resounding positive feedback we received last year. We are delighted to be working closely with the BIID team to offer fantastic opportunities to interior designers attending the show.
“LiGHT 23 is set to be bigger and better than before, with more brands, exhibitors, visitors and talks. We have a strong line-up of companies and speakers joining, with support from renowned partners. The show is a key destination for those with a passion for design and specification, including architects, interior designers and lighting designers.”
Register here.
CIBSE and LIA launch Product Verification Scheme for circular economy
(UK) – The LIA (Lighting Industry Association) and CIBSE (Chartered Institution of Building Services Engineers) have joined forces to introduce a product verification scheme aimed at promoting circular economy practices within the lighting industry. The scheme, known as TM66 Assured, will provide independent verification of lighting manufacturers’ circularity claims, ensuring accuracy and credibility.
The TM66 Assured product verification scheme, developed by the LIA and endorsed by CIBSE, is an essential component of the comprehensive TM66 toolkit to assess the circular economy credentials of lighting products throughout the supply chain. It leverages CIBSE’s TM66 Creating a Circular Economy in the Lighting Industry guidelines and the TM66 Circular Economy Assessment Methods (CEAM) developed by a cross industry team of manufacturers, specifiers and associations whose insight and ideas ensured TM66, published in 2021, would be both easy to use and widely applauded.
TM66 offers practical guidance and tools to enable the lighting sector to adopt sustainable, circular practices and has already gained recognition and adoption by major specifiers and organisations within the industry. In the future, it is envisaged that this will be extended to cover other areas of building services engineering beyond lighting products.
The collaboration between CIBSE and the LIA combines the power and expertise of CIBSE with the robust quality assurance, certification systems, and UKAS accredited laboratory of the LIA. Manufacturers are already providing ratings for their luminaires, and with the TM66 Assured Scheme, they can now seek third-party verification ensuring the credibility, objectivity, and consistency of these ratings. This partnership ensures the reliability and integrity of the TM66 Assured Product Conformity Verification Scheme.
David Barnwell, Managing Director of Holophane Europe Ltd., expressed his support for the initiative, stating, "Anything that helps drive greater awareness of the environmental benefits associated with a circular economy approach is a positive step forward. The TM66 Assured Product Conformity Scheme allows participating manufacturers to demonstrate their sustainability efforts, providing clear differentiation from unsubstantiated greenwashing."
Helen Loomes, President of the Society of Light and Lighting, highlighted the importance of sustainability in lighting practices and the need to evaluate products based on their whole-life carbon impact and material life cycle. She praised the TM66 and CEAM frameworks for enabling informed specification decisions. With the introduction of the TM66 Assured Product Verification Scheme, decision-makers can now have confidence that circular economy claims are robust and comparable between products, providing protection throughout the value engineering process.
Ayça Donaghy, CEO of the LIA, emphasised the lighting industry's commitment to delivering net-zero solutions and the necessity to address environmental impact comprehensively. Transitioning from the unsustainable linear economy to a circular economy, where resources in luminaires are conserved, valued, and their life extended, is the next logical step. Donaghy expressed her delight at the partnership between CIBSE and LIA, which brings together both organisations' strengths to establish a much-needed level playing field in sustainability ratings.
Find out more about the initiative here.
www.thelia.org.uk
www.cibse.org.uk
Acclaim Lighting - Terra Linear
Terra Linear is the new in-ground linear series powered by Acclaim’s XTR technology allowing for linear runs of up to 1,400ft from a single driver and automatically adapts to any voltage (100-277 volts AC). Featuring a low profile design of just under three inches wide, it is drive-over and walk-over rated, and includes a standard anti-slip coating. The direct-view version offers an incredibly clean, dot-free LED marker light for pathways and driveways.
Recolight applauds lighting industry’s adoption of circular economy
(UK) - At a press and stakeholder association event, Recolight CEO Nigel Harvey applauded the huge steps taken by the lighting industry in adopting a circular economy.
“Over the last three years, we have seen a step change in action on the circular economy in the lighting industry. And Recolight has been delighted to be a contributor to that transformation,” he said.
“Many more lighting industry companies are now active in the circular economy. Our recent Lighting Remanufacture conference had more than 70 attendees. A significant number of producers are now actively in remanufacture and upgrade of existing lighting – rather than just the supply of new lighting. That is a huge change. The needle is moving in the right direction.
“At Recolight, we’ve been proud to be a part of this revolution. Over the last three years, our circular economy webinars have been joined by 3,500 attendees, with a further 4,450 listening in afterwards. We have been delighted that more than 50 of the lighting industry’s most influential sustainability leaders have presented on the webinars.
“And in September last year, Circular Lighting Live, the UK’s first conference and exhibition on sustainability in lighting was a sell-out success. We were so delighted with the feedback we have received, that the event will be some 30% bigger in September 2023. What was most heartening was the number of attendees who said that the event had spurred them into action.
“We’ve also been thrilled by the take up of our workshops on lighting product design for the circular economy, joined by around 100 attendees from a wide range of lighting manufacturers. For 2023, new workshops looking at the practical guidance on how to validate sustainability of lighting products.”
Commenting on growth opportunities for Recolight, Harvey said: “We have sought to encourage and drive action on the circular economy in the lighting industry, because it is the right thing to do. It is part of our response to the climate crisis. But we are thrilled that it has also contributed to the attractiveness of Recolight as a compliance scheme – we have a record number of companies are considering joining Recolight at the end of 2023.”
Harvey concluded: “The changes we are now seeing have only been possible because of the effective partnership approach that has built up across the industry. Recolight are proud members and contributors to the LIA, the ILP, and the SLL, and we are delighted to work collaboratively with our friends and partners in the press.”
Preserve and Protect
Will Salter, Senior Designer at dpa lighting consultants discusses the importance of designing lighting for museums that preserves the artefacts on display, as well as enhancing the visitor experience.
The purpose of museums and galleries is to collect, preserve and display objects of cultural, artistic, or scientific significance for the education of the public. However, finding a balance between the two key objectives; display and preservation, is often hard to achieve.
This is because when a decision is made to exhibit an object it may be detrimental to its visual and physical integrity, cause ageing or fading of its materials or impact the significance or value of the piece. Therefore, it is imperative to understand the environment of the space the object will be displayed in, so that it can be exhibited under ‘safe’ gallery conditions while optimising the visitor experience.
Lighting is essential and plays a crucial role. A considered lighting scheme helps to create an atmosphere that complements the artwork, making it more engaging and immersive for visitors. Additionally, lighting can be used to highlight specific aspects of the artwork, such as colour, texture, and detail, making it easier for visitors to appreciate and understand the work.
Today, great thought and consideration is given to elements such as humidity, temperature, air quality and lighting to create a suitable environment for displaying objects to the public. Each has its own set of guidelines that museums follow during the installation and then continue to monitor during the entire time objects are on display.
The current lighting conservation guidelines for sensitive artifacts groups display objects in to three categories. These are: Sensitive Collections (works on paper, photographs, textiles) 50 lux max; Less Sensitive Collections (oil paintings, wood, leather) 150 lux max; Least Sensitive Collections (metal, ceramics, stone, glass) 300 lux.
Currently, there is an assumption that when the museum opens, the lights turn on and when the museum closes, they turn off. This means, for the most part, that the artwork on display is lit to the same lux level all day, every day – and then sometimes for longer due to out of hours events and viewings.
Display objects are assigned annual light exposure levels. An example of how this is measured is by calculating the usual opening hours of a museum, seven hours a day for six days a week over 52 weeks, therefore resulting that an item can be exposed to light 2,184 hours a year. This figure is then multiplied by the recommended light intensity to give the lux hours. So, a sensitive item with a maximum of 50 lux will have a rough total of 100,000 lux hours.
Some institutions have already started to rethink their approach to object rotation to reduce the total time of exposure to light. These include rotating items from storage or turning pages of books or manuscripts on display.
The most effective strategy in reducing light damage is to reduce illuminance and time of exposure. The longer you leave an item exposed to light, the more damage it will do.
An example of this is at The Edvard Munch Museum in Oslo, where there is an installation displaying three versions of ‘The Scream’: a painting, a print, and a drawing. To protect the works only one is displayed at any one time, whilst the other two are covered. It is programmed to automatically rotate hourly to reduce exposure (lux hours) to each piece whilst creating a sense of mystery and intrigue at the same time.
A similar approach should become more widely adopted in museums because when implemented in this way it does not only benefit the artwork but also the visitor.
Using lighting control systems linked to sensors and timers will reduce total exposure time as the display object will only be illuminated when someone is in the gallery or viewing the display object. Turning off or dimming luminaires that are illuminating artworks will also reduce the energy consumption of galleries throughout the show, therefore not only protecting the works but also resulting in lower energy consumption.
Another benefit from the advances in lighting control technology is the use of digital controls, such as smartphones, tablets, and computers, to manage lighting systems remotely. This allows lighting designers to adjust lighting levels and colours from anywhere, making it possible to tailor lighting to specific needs and preferences. Also, it allows curators or gallery assistants to recall pre-programmed scenes that could, for example, raise the light level on a particular artwork whilst giving a talk or tour.
Perhaps with the recent technological improvements within the lighting industry, such as the seamless incorporation of digital motion sensors, timers, and in particular smart control systems, a case can be made to encourage museums to begin to adopt such elements. Along with the move away from halogen light sources, is it now time for the lighting conservation guidelines for sensitive artifacts to be re-written?
Changing light, not build, to create more sustainable exhibition spaces
Pippa Nissen, Director at Nissen Richards Studio, discusses the role that lighting can play in creating more sustainable exhibition spaces.
When we’re designing a new exhibition or gallery, we have to think about how to transform a space as much as possible for maximum impact. We’re constantly under pressure to create something new for repeat visitors, so that each time they come it is a different experience. For temporary shows, the accent is on value for money, while a blockbuster show needs to come complete with ‘selfie moments’ and visually rich displays.
In the past, exhibition design was notoriously wasteful, with every aspect effectively new-build. As we face the future, we are rightly being asked to design more sustainably and also take more responsibility ourselves for thinking laterally and questioning the sustainable credentials of everything we specify. We are thinking increasingly about how to change the appearance of something without adding much in the way of a physical build – and how lighting and graphics can help us achieve this. The aim is for minimal build, but with the ability to change the way it looks and feels throughout a day, or even during a single visit. We can add colour and graphic surfaces, which are easy ways to create dramatic effects, but it’s even better if we can pair this with a clever lighting kit to enable multiple layers of change.
Over the years, I have enjoyed working with lighting design that empowers change and can adapt. I have also been drawn to working with theatre consultants, who have a history of storytelling, which draws from my studies and work in theatre, using light to tell a story and imply all sorts of things – another place, memory, emotion, or idea. I have worked a lot over the last 20 years with Zerlina Hughes, founder of Studio ZNA. We first met on a theatre project all those years ago and I enjoy how she seems to feel the spaces and responds in a very creative way to creating dynamism through light.
A really early project we worked on together perfectly encapsulated lighting’s transformative power. It wasn’t a museum project, but a bar called Liquorish in East Dulwich, where the brief was about adapting through the day from the space being a cafe for young mothers in the morning, to hosting business lunches later and then transforming in the evening into a nightclub vibe with a DJ and dancing. We developed a shifting series of lights on a scene set, that accomplished just that. During the day, we used linear lights paired with windows, and long new roof lights, with smaller interior windows within the spaces. Later on, these lights became stronger, and started to take over from the natural daylight through the windows. Another set of light bulbs were designed to be closer to the tables to give the flattering feeling of candle light. A larger installation of lights in a double height space then became a feature, and achieved a pin-point effect – almost like a still night sky. At a certain time, deep colours started to emerge as lines of colour throughout, with gelled lights on edges of windows and in niches starting to shine, so that the whole space became filled with coloured light. Lighting alone permitted a seamless transition to totally different atmospheres.
Since then, the first bit of kit I now always ensure appears in our cost plan is a lighting control system. It’s fairly pricey, but it means that the space is adaptable to different modes and situations. I am always interested in lighting that considers surfaces, colour, and movement, rather than in the fittings per se. In reality, I rarely use visible fittings, unless bespoke or picking up on shapes or materials we’re using elsewhere in the architecture. I want to think about how a space feels and can adapt. We encourage lights that are small and hidden – and that can change and complement stories. We create troughs and niches to hide lights and conceal fittings.
A more recent project, as a permanent gallery space where the client wanted repeat visitors and the ability to easily adapt, but without large additional costs, was Opplyst at the National Library of Norway. Again, change was achieved to a large degree through lighting, making the space feel magical via a dynamic control system. Coloured, gelled lights shift really slowly across the space, creating a subtle shift between warmer and cooler moods. As you enter, the first experience is a series of light boxes that are pure white, creating a visual ‘reset’ break from outside. Each object is then spot-lit, encouraging visitors to feel as if the only thing they are looking at is each object, with interpretation hidden within the showcases, or subtly placed on light sheets alongside. The beauty of light sheets, when used with a perspex diffuser, is that many different materials can be placed on top with a printed text, and dimmed right down so that, like a kindle, it appears just lit. The text can be reprinted easily but always looks good.
For us light is a boost to give more impact, and also an emotional connection to our build – as a way of enhancing and changing people’s experiences and creating a theatrical twist. So, my tip would be, when thinking about a new exhibition project, to consider carefully how much of a theatrical change can be made through pairing lighting with architectural moves, and then allowing different effects to be revealed slowly through time, so that the space isn’t still and one-dimensional, but has a dynamic and changing appearance. This feels like value added to the client, while visitors feel that they are in an ‘experience’ and the client ends up with a more flexible space that can be used in different ways. They can even add a party mode to the scene setter, so that spaces can be used by corporate or private clients in a different way as a revenue stream. No extra build, but a completely different atmosphere. This feels like the future – and a sustainable one too.
David Morgan review: Simes IP System
Since its launch at Light + Building last year, the IP System from Simes has been causing a buzz among the lighting design community. Here, David Morgan takes a closer look at the range to see what all the fuss is about.
It is exciting and unusual to review a lighting system that combines a unique combination of features. The IP system from Simes is such a system. It combines an exterior rated silicone encapsulated diffuse linear lighting system with an exterior rated track system for projectors and accent lighting luminaires that can be added or removed along the length of the system.
Simes is based in Franciacorta, in the Brescia region of Italy north of Milan. The current firm was founded in 1973, although the origins of the company date back to 1957, when Edigio Botti started a metals machining company at his home. The company expanded and, in 1972, purchasing the Bruno Magnani company that specialised in exterior lighting. The company name was changed to Simes a year later and the first new product launched was a redesigned die cast bulkhead luminaire that was offered in a range of bright colours.
Under the management of Edigio Botti’s son, Roberto Botti, who has run the firm since 1990, the company has continued to grow and now employs 120 people. With sales distribution in more than 60 countries, around 70% of sales are outside Italy. All of the company’s components are designed in-house, and most are sourced from trusted local suppliers in the region.
The company has worked with a variety of high-profile designers to create new products since 1986. In 2016, I reviewed for arc magazine the innovative Simes Ghost concrete integrated range, designed by Marc Sadler.
The latest development from Simes is the IP System, which was unveiled at Light + Building in 2022 and has received an enthusiastic response from the lighting design community.
The original concept for an exterior IP rated track system was developed by Roberto Botti over many years. The eureka moment was apparently revealed in a dream when he realised the opal silicone used to encapsulate exterior linear lighting systems could also be used as a gasket in a waterproof track system. The Simes in-house design team got to work and quickly developed a working prototype to prove the design approach.
At the heart of the IP System is a custom flexible LED tape fitted with tight pitch LEDs. This produces the light output for the linear diffuse lighting system branded as the Highlighter by Simes. Running either side of the LED circuit are two additional copper conductor strips, which are used to power the plug-in projectors and other luminaires. The side conductors have a separate power supply from the central LED strip enabling each circuit to be independently controlled. A complex dual material silicone extrusion provides the diffusion for the LEDs and aims to seal the tape from water ingress.
The electrical connections between the plug-in luminaires and the conductive copper strips are made with sharp pins that pierce through the silicone diffuser without leaving space for water ingress. The silicone extrusion is housed in an aluminium extrusion, which gives the system it’s strength and rigidity. The plug-in luminaires snap onto the aluminium extrusion with stainless steel clips. Extruded aluminium side panels are then clipped onto the body extrusion to give a clean, finished appearance.
The Highlighter is available in both surface mount and ceiling recessed versions with lengths up to four metres. The system can be cut to a 50mm module, but this has to be done by Simes during production and cannot be undertaken on site. The Highlighter without any additional snap-in luminaires is rated at IP65. When the snap-in luminaires are first added, the IP rating remains at IP65 but once these luminaires are removed and then moved to a new position the rating for the whole system drops to IP54. I assume that the puncture holes in the silicone extrusion do not completely heal and may provide a water ingress path to the LED tape.
The snap-in luminaire installation is a little more complicated than I expected and requires the use of a patented, moulded jig to ensure that the contact pins pierce the silicone extrusion perfectly perpendicular to the surface. To protect the contact pins and ensure they are not distorted, a specially designed moulded cover is provided for each snap-in luminaire. Removing the luminaires from the track is also slightly difficult as the stainless-steel clips are an aggressive fit yet seem to allow the projectors in particular, to wobble slightly. It helps to remove the side panels before removing and repositioning the snap-in luminaires. For the ceiling recessed version this would mean removing the system from the ceiling before moving any of the snap in luminaires.
The sample I was given to test worked well with the caveat that there is a knack to getting the snap-in luminaires to make contact through the silicone extrusion. The lit effect from both the linear Highlighter and the snap-in luminaires was good with attractive, clean distributions.
The maximum wattage for all the snap-in luminaires per circuit is 60W, which may be limiting in some situations.
The range of plug-in luminaires includes two sizes of adjustable projectors: 5.4W and 8.6W. The larger size incorporates a zoom lens. Both sizes can be aimed and locked with grub screws. Snoot versions are also available.
In addition to the adjustable projectors, the IP System includes two styles of fixed downlight. A rectilinear wide flood type design in two sizes rated at 4.2W and 8.4W, and a radius end type with narrower optics rated at 4.2W.
A cylindrical 4.2W pendant available in flood and wide-flood distributions completes the current range of add-on luminaires.
The design of the system is well-detailed from an appearance point of view. However, construction of the luminaires involves the use of hard setting resins, which will make servicing, reuse, or recycling of the die cast and machined aluminium components problematic at the end of life, so the system does not fit into a circular economy model particularly well. It will be interesting to see how the system copes with high levels of heat and moisture in challenging environments over the long term.
The IP System is another example of the innovative and quite daring Simes design approach to luminaire development and the initial positive reaction from specifiers indicates that it will prove to be a commercial success.