THE INTERNATIONAL MAGAZINE FOR DESIGNERS WITH LIGHT #83 2015

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018 CONTENTS

[feb/mar]

048 Interview Jill Entwistle gets to grips with Lucent founder Michael Dunk.

Front cover pic: Fulton Center, New York supplied by Grimshaw.

022 Editorial CommentThe darc awards has finally arrived.024 PostcardCourtesy of Factorylux and Light Collective.026 HeadlinesThe latest industry news.028 darc nightNews from the darc awards launch party.030 Eye OpenerFlylight, Het Noordbrabants Museum, The Netherlands032 Drawing BoardOur preview of proposed projects.036 SpotlightA selection of brand new projects from around the world.042 BriefingWe talk to Rogier van der Heide, Zumtobels new Head of Design and Marketing. 044 SnapshotIntroducing South African practice Pamboukian Lightdesign.046 Lighting TalkJennifer Hamilton, founder of The Vawdrey House, talks light.154 InspirationsIllustrator / architect partnership, Nanotak.

DETAILS ART & DESIGN TECHNOLOGY

086 Fetes des Lumieres, LyonPaul James pays the worlds most established festival of light a visit.092 Amsterdam Light FestivalPaul James takes a canal stop tour of this impressive event.100 Enlighten ManchesterA pilot lighting project showing promise.104 Dark Source StoriesThe latest installment in Kerem Asfuroglus dark vision of light.

106 Geoff ArchenholdSmart lighting and an industry slow to react.109 Christopher Kit CuttleThe difference between vision and perception.112 Case StudiesA selection of projects featuring innovative lighting including: Galeria Melissa Covent Garden (p112); Whitman-Walker Memorial (p114); Bolte Bridge (p116); Qatar Handball Association Complex, Doha (p118); Schlossplatz (p120); Medici del Vascello (p122); Encants Market (p124); Liberty Mutual footbridge (p126); Daryl Roth Theatre (p128).130 Auroralia AwardStrijp-5 in Eindhoven is victorious.132 Rethink The NightHellenic Illumination Committee workshop.134 Bench TestDavid Morgan looks at Trinitys new range of slick and stylish exterior lighting bollards.136 Exterior Lighting Product GuideInside out fittings.144 Euroluce PreviewWhats coming up in Milan.146 New Product GuideBrand new products for 2015.152 Event Calendar

092

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020 CONTENTS

[feb/mar]

PROJECTSPROJECTS

054 Novo Nordisk HQ, BagsvrdWinner of the 2014 Danish Lighting Award, the Novo Nordisk campus is the clever work of Grontmij and Henning Larsen Architects.

062 Chifley Tower, SydneyPointOfView brings the buildings Art Deco styling to life through a creative lighting update.

PROJECTS

OnlineWatch Grimshaw Partner, Vincent Chang and Artist, James Carpenter as they discuss the Sky Reflector-Net at the Fulton Center, on www.mondoarc.com

068 Fulton Center, New YorkFeaturing Grimshaw design, in conjunction with Arup, and daylighting design from James Carpenter Design Associates.

074 IZB Residence, MunichAt the heart of Martinsried Life Science Campus sits an elegant space brought to life by Occhio lighting.

080 Onze Lieve Vrouwe, AmersfoortDutch designerJeroen Jans turns the tower into a central and prominent structure for the community.

083 Nordbad, MunichThe iconic historic swimming pool receives renovation to its lighting designed by Gabriele Allendorf Light Identity.

074 080 083

022 DETAILS

[editorial]Paul James, editor, writes: This issue comes to you later than normal as we just had to wait for our darc night, the official launch party for our international lighting design darc awards that took place in London on February 5th. It was a fabulous evening and many thanks to Light Collective for transforming the venue with light and Kerem Asfuroglu of Speirs + Major for the amazing Dark Source video and exhibition.Now the party is over, the serious issue of developing the awards to be exactly how you want them

gets under way. We have listened to lighting designers and manufacturers who have been craving change and we feel we have come up with the ideal format - both in terms of the awards process and the event - to really engage with you. As I said during my speech, we were reluctant to launch yet another awards programme but the calls were getting so loud that we couldnt ignore them any longer. A huge thank you to our initial eight commercial partners - Concord, Innermost, KKDC, L&L Luce&Light, LSE Lighting, Lucent, Megaman and Reggiani - and we will have some more announcements about further partners coming on board shortly.Based on the reaction at the launch party, three components that people particularly seem to like about the darc awards are the year-round online presence of projects and products; the low and high budget project categories; and the peer-to-peer voting. And thats without even mentioning the exciting interactive element of the planned darc night in September.So take a look at www.darcawards.com, start submitting your work and give us plenty of feedback. Were listening.

EditorialEditorPaul James (p.james@mondiale.co.uk)

Deputy EditorHelen Fletcher (h.fletcher@mondiale.co.uk)

Editorial AssistantRob Leeming (r.leeming@mondiale.co.uk)

Editorial InternFemke Gow

AdvertisingAdvertising ManagerJason Pennington (j.pennington@mondiale.co.uk)

Advertising Sales ExecutiveJohn-Paul Etchells (jp.etchells@mondiale.co.uk)

SubscriptionsAmy Wright (a.wright@mondiale.co.uk)

ProductionDavid Bell (d.bell@mondiale.co.uk)

Mel Robinson (m.robinson@mondiale.co.uk)

Dan Seaton (d.seaton@mondiale.co.uk)

ChairmanDamian Walsh (d.walsh@mondiale.co.uk)

Finance DirectorAmanda Giles (a.giles@mondiale.co.uk)

Credit ControlDonna Barlow (d.barlow@mondiale.co.uk)

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Helen Fletcher, deputy editor, writes: Its been a busy couple of months at the mondo*arc offices with the team juggling the Feb/March issue; the 2015 ILDS; preparing for the darc awards launch party; and a day out to the printers (Blue Peter style) in Buxton... and all with Christmas festivities slap bang in the middle! But weve survived to tell the tale and as this is my first proper issue I can safely say Ive enjoyed every last minute of it. Weve covered some great projects in this issue, with

personal favourites including the IZB Residence in Munich (pg.74) and Chifley Tower in Sydney (pg.62). We also have some beautiful lighting installations covered in our Spotlight pages (starting on pg.36), all of which have been handled by our very first intern, Femke. Shes been beavering away for the past few months learning the ropes of journalism, but the time has sadly come for us to say our goodbyes and wish her well in her career. Some of you will have had the pleasure of meeting Femke at the darc awards launch party held at the beautiful Dilston Grove in London. What a wonderful backdrop to a great event (even if hats, scarves and mulled wine were required). It was brilliant to see so many lighting designers venture out to support us and Im looking forward to some exciting times ahead!

[postcard]

#4 James Turrells Skyspace

You cant have a series about natural light without including James Turrell so of course he made our list with the Skyspace installation concept. It is said (apparently) that you never forget your first Skyspace and thats certainly true for Light Collective. For Martin, it was the Space That Sees at the Museum of Israel and for Sharon, the Deer Shelter Skyspace at the highly acclaimed Yorkshire Sculpture Park.A Turrell Skyspace is a specifically proportioned chamber with an aperture in the ceiling open to the sky (a bit like a contemporary Pantheon). Skyspaces can be both autonomous structures or integrated into existing architecture. The Skyspaces dominant feature is the circular, elliptical, or square aperture at the top of the room allowing skylight or the night sky to be viewed without peripheral distraction. From the inside of the structure, the viewers point of view is focused upwards and inevitably lured into contemplating the sky as framed by the open roof and the installations are somewhere between

indoor and outdoor as well as between fantasy and reality. There

are now 82 Skyspaces worldwide (a full list of locations can be found here: http://jamesturrell.com/artworks/by-type/#type- skyspace).The image used for this months postcard is from the house of Jim Goldstein in Los Angeles. The house was designed by architect John Lautner in 1963 and this Skyspace is a free standing concrete room built into the hillside and titled Above Horizon. The Skyspace has two openings: the central oculus, and the corner window. The room is pre- programmed by Turrell for shows at dawn and dusk and houses 5,000 LEDs that are not directly visible by viewers. When the LEDs are activated they

wash the room with abundance of coloured light amplified by the smooth white plaster finished walls. The preprogrammed lighting runs through a slow transitioning colour sequence centring on the view of the sky.Turrell has always embraced the fluidity of light in nature in his work and constructed his first skyspace in 1986 in the parking lot of MOCAs Geffen Temporary Contemporary. There were no LEDs, just tungsten lamps carefully placed behind wood benches. This meant the sky, seen through a square opening in the roof, was mostly blue but still changed.Many Skyspaces are commissioned by museums; others are commissioned for private art collections. Each one is created for a specific location. Turrell questions what exactly the collector is getting: When somebody buys a work of mine there is the question, what is it they own? And in some way I can honestly say that you own the light that is passing through.Turrells titles for these spaces are not arbitrary and are inspired from his childhood experience. Raised as a Quaker, the Skyspaces are meant to evoke the quiet, even metaphysical private space of a Quaker meeting with the wooden bench seating that is often included within the Skyspace interior, similar to those of his childhood memories. Turrell recalls how his grandmother used to advise him to go inside and greet the light.Half way through the series and we are going you a chance to nominate the final building that Factorylux will make into a beautiful print like this one that goes out to all mondo* arc readers. Fill in and return the postcard for your suggestion to be considered or talk to us via #MondoCards if you want to pick up the conversation online.www.urbancottageindustries.com/filament-light-bulbs/low-energy-light-bulbswww.urbancottageindustries.com/factoryluxwww.lightcollective.net

light without including James Turrell so of course he made our list with the Skyspace installation concept. It is said (apparently) that you never forget your first Skyspace and thats certainly true for Light Collective. For Martin, it was the Museum of Israel and for Sharon, the Shelter SkyspaceYorkshire Sculpture Park.A Turrell Skyspace is a specifically proportioned chamber with an aperture in the ceiling open to the sky (a bit like a contemporary Pantheon). Skyspaces can be both autonomous structures or integrated into existing architecture. The Skyspaces dominant feature is the circular, elliptical, or square aperture at the top of the room allowing skylight or the night sky to be viewed without peripheral distraction. From the inside of the structure, the viewers point of view is focused upwards and inevitably lured into contemplating the sky as framed by the open roof and the installations

indoor and outdoor as well as between fantasy and reality. There

are now 82 Skyspaces worldwide (a full list of locations can be found here: http://jamesturrell.com/artworks/by-type/#type- skyspace).

NO 00000

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The two paragons of cool, Factorylux and Light Collective, have teamed up to release a series of natural light in architecture cards, exclusively available through mondo*arc and its sister title darc. Each issue, Light Collective will explain the reason for their choice and then, inserted in each edition, will be a limited edition print.

024 DETAILS

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news headlinesNovo Nordisk headquarters wins Danish Lighting award

(Denmark) - Novo Nordisks new headquarters in Bagsvrd has won the

2014 Danish Lighting Award.

Read the full story online...

Design LED expands senior management team

(UK) - Following investment from Ikea Greentech, Wolfgang Andorfer joins Design LED as Chief Sales and Marketing Officer.

Read the full story online...

International Lighting Design Survey reveals growing profession(International) - ILDS reveals almost 1,300 lighting design practices now operating throughout the world.

Read the full story online...

mondo*arc india to launch in March

(India) - New quality publication for designers and specifiers in India - joint

venture between creative lighting company STIR and publishers of mondo*arc and darc.

Read the full story online...

Lamp 83 expands

(Turkey) - Istanbul-based lighting manufacturer continues operations in new facility.

Read the full story online...

Whitegoods appoints new Sales and Marketing Director(UK) - Whitegoods Lighting appoints Christopher Burridge as Sales & Marketing Director.

Read the full story online...

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edarc night launch party takes place

(UK) - International lighting design darc awards is launched by mondo*arc and

darc magazines.

Read the full story online...

For the latest news stories, head

online: www.mondoarc.com

026 DETAILS

7

In pictures 1 Novo Nordisk campus is featured from page 54. 2 mondo*arc india to launch in March. 3 Christopher Burridge. 4 Lamp 83s new facility. 5 International Lighting Design Survey

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features 1300 lighting design practices. 6 Wolfgang Andorfer. 7 darc night launch party took place in London on February 5th.

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[darc awards]mondo*arc and darc magazines, in collaboration with Light

Collective, launched their new international lighting design

awards at their darc night event in London on February 5th.

028 DETAILS

darc night, the launch party for the darc awards, took place on February 5th at Dilston Grove in Southwark Park, Bermondsey, London and featured a special lighting scheme by Light Collective using fittings from the darc awards commercial partners. A Dark Source animation and exhibition by Kerem Asfuroglu of Speirs + Major also featured. Over 150 designers and partners attended the event.Paul James, awards director and publishing editor of mondo*arc and darc, gave a presentation explaining the awards programme and darc night concept.With our database of over 1,000 international lighting design practices, as well as interior designers and architects, there is a unique opportunity for every

practice to get involved in the awards process, commented James. We intend to make the darc awards the most accessible and global awards programme ever. After the shortlists have been chosen by an expert panel of international lighting designers, each of the 1,000+ lighting design practices and their designers will be invited to vote on their favourite projects via our specially developed website. Using the model developed by the Oscars where all members vote on the work of their peers, the darc awards will give every designer a vote, making this the only truly peer-to-peer lighting design awards in the world.Each award will be split into low and high budgets, thus allowing the smaller projects a chance to compete and not just given a

token Special Projects award.Martin Lupton and Sharon Stammers of Light Collective are excited by the prospect of a pluralistic awards event: Having been involved in many lighting awards programs over many years, this is a great opportunity to build on all of those experiences and try to create a different version of celebrating the best of lighting design where the judging is in the hands of everybody. Helping to shape darc night in collaboration with mondo*arc and darc has given us a chance to create an awards ceremony that is by the people, for the people its the Oscars of lighting design!All the projects and the companies who have submitted them will be present on the website so that, over time,

Pic: Gavriil Papadiotis

Pic: Caroline Sterzi

029

partners

www.darcawards.com will become a comprehensive online lighting design resource that can be used by designers and clients alike for inspiration.There will also be product categories (two architectural and one decorative) that will follow the same philosophy resulting in a comprehensive online database of products.Following the voting process the awards ceremony will take place as part of darc night in September 2015. This will be an atmospheric party in a unique venue in London. Imagine light art, street food, lighting installations this breaks all the awards rules and will be unlike any other awards ceremony to date.Each commercial partner will be able to show off the capabilities of their product

via a series of light installations from collaborations with lighting designers. Currently the manufacturer partners consist of Lucent, Megaman, Innermost, LSE Lighting, KKDC, Concord, L&L Luce&Light and Reggiani. A maximum of twelve partners will be involved in order to create a dozen inspiration spaces at the specially selected venue in London next September.darc night will be part of the IYL2015 (International Year of Light and Light-based Technologies 2015 ) related activities program and will be promoted by the L-RO (Lighting-Related Organizations) to raise awareness for the lighting design profession and showcase the importance and beauty of light.www.darcawards.com

Previous page Light Collective created a stunning lighting scheme using Megamans Dim to Warm LED lamps as a chandelier, Arturo Alvarez V floor standing lamps (supplied by LSE Lighting) and Reggianis Rios spotlights shining through the windows. The Dilston Grove arts venue used to be a chapel.

This page All the commercial sponsors were represented among the 150-strong crowd. Kerem Asfuroglu exhibited his Dark Source artwork as well as showing an animated film.

030 DETAILS

This year marks the 125th anniversary of Dutch painter Vincent van Goghs death. In memory of the artist, Het Noordbrabants Museum in the Netherlands displayed Studio Drifts Flylight exhibition curated by Yksi Ontwerp.Flylight is a site-specific light installation that directly interacts with its surroundings. It consists of delicate glass tubes that light up in an unpredictable way. The light sculpture mimicks the behaviour of a flock of birds in flight, symbolising the conflict between the safeness of the group and the freedom of the individual. While birds are the ultimate symbol of freedom, in a flock they move as one single entity, creating mesmerising patterns. This flock behaviour is an example of self-organisation, meaning that no single bird leads the flight. Amazingly enough, each individual senses the speed and the direction of the group.Flylight translates this flock behaviour into specially developed agent-based software, meaning the patterns in which the installation lights up are not pre-programmed, but have an interactive compound like a real flock of birds. Nature was van Goghs and Studio Drifts dominant source of inspiration and forms a guide through the exhibition that will be on view until April.www.studiodrift.com

Flylight, Studio Drift, Het Noordbrabants Museum, The Netherlands

eye opener

DETAILS

031

[drawing board]The latest exciting works in progress from the worlds most imaginative designers.

032 DETAILS

SAN ZEROA.C. Milan and Arup have presented their expression of interest for the redevelopment of a central area in Milan to host the new A.C. Milan stadium.The innovative venue will include a modern stage for the home matches of the club together with a hotel, a sports college, restaurants, childrens playground, green areas and spaces open to the city and dedicated to public use.The project, developed by Arups architecture, urban planning and engineering team in Milan will include lighting design.The new stadium will also provide a unique experience to the spectators, with particular attention towards families, with cutting edge technologies and facilities.The project has been developed with a fully holistic and integrated approach where all the design components have been carefully balanced around the spectators experience. Some of these innovative components include sight-lines analysed and designed for every seat and developed by an Arup parametric tool that guarantees

the best possible view from every location in the stadium; high-tech solutions that will enhance the spectators experience before, during and after the matches; and special VIP facilities with lounges and spaces with a direct view on the mixed-zone and on the route from the athletes changing rooms to the pitch.www.arup.com

WWW.XAL.COM

UFO: FUTURISTIC LIGHTING SYSTEM WITH SOUND-PROOFING AT HEART.

Creative sphericity. UFO opens up undreamt of possibilities to create exceptional lighting. The components of this lighting system can be freely combined with each other, allowing for limitless creativity, and can also be combined with sound-proofi ng elements.

SILENT FLYING OBJECTSILENT FLYING

UFO_inserat_mondoarc_210x310_RZ.indd 1 03.02.15 15:56

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[drawing board]

ELEKTRAFYING DESIGNMarriott Hotel Victoria Island in Lagos, Nigeria is a new development that celebrates the clean lines of modern, contemporary design. Due to open in December 2016, the lighting concept by Elektra Lighting has been based on an interior design scheme developed by RPW Design and the architects from G1 Architecture. The lighting scheme enhances that approach

throughout the public areas with a clean, simple and minimal design, without fuss.Luminaires are concealed where possible; where it is not, minimal light fittings create atmosphere without drawing attention to themselves. The lighting is warm and pleasing to the eye, with a bright and inviting atmosphere to welcome guests during the day. The evening will see the colour temperature

drop to a more relaxed candlelight tone.The lighting will enhance the space, and complement the architecture and interior design. The landscape design, created by the Gillespies design practise, features a flattering lighting scheme to accentuate the design and enhance it, especially after the natural sun light hides beyond the horizon. www.elektralighting.co.uk

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[spotlight]The latest projects with the wow factor from around the world.

PLAYING IN COLOURToronto-based architectural firm RAW transformed downtown Montreal into an interactive kaleidoscope with its Prismatica installation at the Quartier des Spectacles. Comprising 50 pivoting prisms, each more than two metres tall, Prismatica is one of two installations selected by the juries of the fifth annual Luminothrapie, a high-tech public art exhibition that displays artists and architects outdoor creations. Luminothrapie lets local designers, artists and architects build novel outdoor creations as part of Montreals inclusion as a UNESCO City of Design. The exhibition came in two parts: a field of light and music running the

length of Place des Festivals along Jeanne-Mance Street; and an animated projection series that were played as a game on the facades of seven buildings in the Quartier des Spectacle.RAWs involvement marked the first firm based outside of Quebec to participate in the competition. For Prismatica, RAW assembled a team of professionals from ap-plied science, technology, art and architec-ture fields to create the display. The prisms, made of panels laminated with a dichronic film, transmit and reflect every colour in the visible spectrum, varying with the po-sition of the light source and the observer.

Mounted on bases containing projectors, as visitors wander among and manipulate the prisms, they enjoy an interplay of light and colourful reflections. For added affect, as the prisms rotate, a variable-intensity soundtrack comprised of bell sounds plays.Prismatica invited people to play, to have fun and in doing so, forget about the cold, said RAW Director Roland Rom Colthoff. Luminotherapie is a great event that cel-ebrates lively public space on a large scale and speaks for the passion of design found in a city like Montreal.www.quartierdesspectacles.comwww.rawdesign.ca

Pics: James Brittain

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IMMERSION CUBEAeolian Light, an outdoor exhibition held at the Lowry Theatre, Salford Quays, was an il-lustration of visual energy fields and objects carried on the wind as they floated through space occupied by lights. The idea was that people could also move through the space, causing eddies and disturbances, and in turn affect the light installation. A project by creative designers Squidsoup, commissioned by Quays Culture and Uni-versity of Salford, Aeolian Light developed from existing research project Ocean of Light, which looked into the creative possibilities of 3D arrays of individually addressable lights to create presence and movement in physical space. The earliest of these projects used a one-metre system developed in Zurich called NOVA.Squidsoup wanted to take this existing system but alter it so people could walk within the cubes and be surrounded by the lights. The project gradually developed into Aeolian Light, an entirely weatherproof interactive system using 12,096 RGB LEDs suspended in strands, each containing 21 points of light with 72 DMX universes - with each one controlling eight LED strands.Aeolian Lights tracked people using a SICK laser scanner with infrared light to detect movement so the visuals flowing through the lights travelled in the same direction as the wind.Working with wet weather and trials with unfamiliar technology as major setbacks, Squidsoup created something that could not only be viewed from a distance by its audience but could entirely envelop people in a floating cube of light and colour. www.squidsoup.orgPics: Joel Chester

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[spotlight]

COSMIC CONTACTArt museum and cultural centre Foundation Louis Vuitton (FLV) launched the second phase of its inaugural program with inter-nationally renowned Danish-Icelandic artist Olafur Eliassons Contact exhibition in Paris. Designed by Canadian architect Frank Geh-ry, the museum itself contains its gallery spaces in cement blocks covered by curved pieces of glass. Having served a cosmic pur-pose for Eliassons first solo show in France since 2002, this latest exhibition, Con-tact enveloped the museums visitors in a choreography of moving light and shadows, transporting them into a simulation of the darkness of outer space.The route through the exhibition, revolv-ing around two large-scale installations, is derived from the geometry of the circle. By bringing viewers into contact with a meteorite, the exhibition begins with a

gesture intended by the artist to expand the horizons of imagination.Firstly, Map for Unthought Thoughts takes viewers to the centre of a semi-circle that is extended to full circumference by a mirror. Covered with black sandpaper, the passageway arouses physical sensations of disorientation and confinement. Then, entering Contact (also the title of the exhibition), visitors move on the sloping floor as if traversing the top of a sphere or planet. The journey concludes with Big Bang Foun-tain, an apparatus that reveales periodic liquid flashes - referring back to Parallax Planet, a piece which already established a form of contact with water by way of an optical device at the start of the exhibition.Finally, outside, World Illuminator uses a sun-tracker installed above the upper shell

of the building to direct rays of light onto the sphere Dust Particle - a multifacet-ed, geometric sculpture suspended within the building to immerse the visitors in a multi-sensorial experience. This in turn reflects speckles of light into the hall. This unity of interior and exterior testifies the relationship between humankind and the universe - reiterating the exhibitions central theme.This theme, and that of other cosmic projects exhibited in the gallery, is echoed in the architecture of the museum as the Foundation Louis Vuitton structure gives the impression of something continually chang-ing with time and light, much like Eliassons expansive exploration of perception and space. www.olafureliasson.netwww.fondationlouisvuitton.fr

Pics: Iwaan Baan

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2015 02 AD 333_236 5.indd 2 2015-01-30 2:11:38

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[spotlight] SOVIET SWEDENKate Wilkins, of lighting designer collabora-tive Kate and Sam, has joined musician Matt Johnson (The The) and visual artist and film maker Johanna St Michaels to create The Inertia Variations, a new light and sound sculpture in Gothenburg.Inspired by the Soviet-era Sukhov radio tow-er in Moscow, the nine-metre-high sculp-tural mesh of illuminated strands on the roof of Gothenburgs Rda Sten Konsthall, evokes propaganda tools used by dictators and revolutionaries to resemble creative and communicative struggles. A subsequent stage moves the tower inside the gallery, where the viewer is immersed in narration, soundscapes and music.Wilkins described the project: Im fasci-nated by using lights influence on mood and perception, and in this first stage we reveal the inner surfaces only, in a white with all warmth filtered out. The tower looks as we had hoped, and very striking in Gothenburgs docks skyline.The Inertia Variations is the latest in a se-ries of art-led side projects for Wilkins, her previous credits including the opening of Tate Modern in 2000 and the British Pavilion at the Shanghai Expo in 2010.www.katewilkins.comwww.thethe.com

SERPENTINE GAMESThe first major UK exhibition by Argentini-an artist Julio Le Parc sees the Serpentine Sackler transformed with immersive light installations and the artists signature inter-active games.Known for creating artworks that animate and transform space through light and using projected, moving, and reflected light to create works of art in constant flux, Le Parcs playful exhibition transforms the gallery and actively involves visitors. At the heart of his practice is a desire to experi-ment with our engagement and perception of art, thereby altering our perspective on the roles of the artist, spectator and the in-stitution. Through his experimentation with light, Le Parc creates a situation of visual instability, in the work and in the viewers experience.The visitors participation in the exhibition is both passive and active, with the design reminiscent of an amusement arcade and its numerous booths. While Le Parcs light installations offer an immersive experience, his interactive game works become a place for activity.www.serpentinegalleries.orgwww.julioleparc.org

Pic: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015)Image Sylvain Deleu

Pics: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015) Images READS 2015

A range of recessed adjustable circular gimbal downlights Available in both trim and trimless versions 2 sizes, Mini and Midi Antiglare snoot as standard Tapered or Long Snoot options Accepts LED, Low Voltage and Metal Halide light sources Multiple trimless installation kits available

Product shown ProSpex Axis Midi Trimless with Long Snoot

ProSpex Axis

lucent /lus()nt / adjective literary

glowing with or giving off light. the moon was lucent in the background

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London | New York

[briefing]We speak to the the new Head of Design and Marketing at the Zumtobel Group following his move from Philips.

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Why did you move from Philips to Zumtobel?When I joined Philips it was an interesting moment in time because of the shift in lighting technology and the decisions that meant for a huge business like them. I had a great time but I wanted to work with a 100% lighting company. There are other lighting companies of course but Zumtobel has always been involved in application working closely with architects and lighting designers. Im a lighting designer so this appealed to me. Ive known the Zumtobel family for quite a while and we have had discussions in the past but there was always something getting in the way. Now was the right time.

What is your role at the Zumtobel Group?My role (Head of Design and Marketing) is a very influential one, heading a small group of passionate people to drive the company forward. We are in a process of transformation. Based from what I saw at Light + Building we have some catching up to do. Ulrich Schumacher came on board as CEO just over a year ago and its his goal to make Zumtobel healthy and fit for a future that is faster. There will be an interaction between my creative vision and what we structure in our programmes to develop a cohesive portfolio of innovative products. The focus on LED by most of the lighting industry has been energy savings. Most of the big companies havent thought about what we can do with LED that we werent able to do before if we combine it with other technologies. That is starting to happen now and I want to be at the centre of that.

Do you have any specific goals for the Zumtobel Group brands?I want to create an ecosystem rather than treat the three main brands (Zumtobel, Thorn and Tridonic) as separate entities. The approach to the market of the three brands has always been very different but by working closer together we have an ideal opportunity to give the market what it wants by simplifying the whole process. We are working on ideas but it would be great if every Thorn product had really intelligent, connected light for example. Why not? It doesnt have to be just the really high end brands that have this. Why cant Zumtobel have beautiful, aesthetic exterior products? There are no reasons why. I cant tell you it will definitely happen but its a wish of mine.

Will you continue to work with architects and designers to develop products?Yes, we will but we will also work with new talent, both from architecture and other disciplines, to come up with a new road map of ideas. Its easy to hire a famous architect to design a product, pay a fee and then it gets specified on a few of their projects. But its not enough. We need to build relationships in which the continuous exchange of ideas gets established. For that you need to show your passion. Many large lighting companies fail to make real choices. They try to

cover everything, they have huge complex catalogues but its too much for architects who have to think about every element of the building. Of course we still need catalogues but we should be talking with architects and others to create real lighting solutions, to make catalogues more relevant.

Will the policy of supporting lighting designers on projects continue?Yes, we will always support lighting designers on projects where they are involved. But of course in some markets there are no lighting designers and in this case we can offer a service that includes lighting design. This doesnt compromise lighting designers. On the contrary, everything we do at a high level grows the market for all. Lighting designers benefit the more great lighting design is out there. The reaction from lighting designers when the news came out that I was joining Zumtobel has been very positive. Theres a lot of love out there for Zumtobel!

Why is Zumtobel opening a Lichtforum in Amsterdam?Unlike previous Lichtforums, it will be a centre for experimentation. The great architects and designers from the past like Frank Lloyd Wright, Charles and Ray Eames were not scared to experiment with materials to create and I think we need to be like this with light. We have to create lighting solutions with experts from other disciplines like the arts, science, healthcare or behavioural psychology or even app developers to drive a programme of innovation. I want to make smart lighting that is more holistically connected than just the driver and the lamp. I want to connect to the rest of the world. I have no idea how to do that yet but I want to find a way.

Why specifically Amsterdam?Its nothing to do with the fact that I live here! The language and travel connection advantages are obvious but Amsterdam is so creative in design, architecture and technology, with a lot of great talent. Many great architects are based in the Netherlands like Mecanoo, MVRDV, UNStudio, OMA etc. Hi-tech companies like Cisco, Google, Microsoft and IBM have their European headquarters here. They are all now looking at lighting and I am very interested in working with them. They dont care about the mechanics of manufacturing lamps but they can bring some fresh ideas to the debate. Everyone at Zumtobel cares passionately about lighting and we can bring our expertise to the table.

You had some time between leaving Philips and joining Zumtobel. What did you get up to?I was busy! I went back to my roots and did some small lighting

design projects. I also had more time to dedicate to this years Amsterdam Light Festival (Im the founder) which was very rewarding. And I am involved in a documentary film about

light based on a theatre production of Prometheus: The Poem of Fire by Alexander Scriabin that Im working on. Scriabin

composed the piece about light in 1910 when electric light had just been invented. There have been several

productions of it when lighting has been involved but this will have a modern, fully immersive lighting interpretation. It will be shown here in Amsterdam in December this year for the

International Year of Light.www.rogiervanderheide.com

www.zumtobel.com

ROGIER VAN DER HEIDE

out of darcness comes light...

...welcome to darc night

a unique international decorative and architecturallighting awards concept and event from featuring member of

partners

entries now being accepted on www.darcawards.com

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[snapshot]Paul Pamboukin has over 30 years experience working with light. He cut his teeth in the theatre and was Chief Lighting Designer at the State Theatre in Pretoria before moving to event lighting and then establishing Pamboukian lightdesign in 1990.

As part of a public art programme, artist William Kentridge and sculptor Gerhard

Marx coneptualised Firewalker, a three-dimensional object. Moving around what

looks like a puzzle of a sculpture, viewed from one of two specific points, the piece

resolves into two different images. Carrying hot coals on her head, the Firewalker is seen north while the miner can be seen

from the south. To ensure no shadows were created and the images werent distorted

by blending of the black panels, the piece is lit accordingly. To achieve this, three metal

halide projectors illuminate the sculpture from the front and it is backlit with a metal

halide blue projector.

FIREWALKER, JOHANNESBURGARTISTS: WILLIAM KENTRIDGE AND GERHARD MARX

CLIENT: CITY OF JOHANNESBURG

Alice Lane is the first in a new breed of exclusive health clubs from Virgin Active. Gone are the downlights and factory aesthetics and in arrives mood lighting and a warm atmosphere. The red, off-centre stairs detract attention from the cosy lounge space behind, while the cove-like speckled sitting room offers personal lounge areas and individual interior luminaries add definition to the lounge atmosphere.Much of the lighting is bespoke design - luminaires are floating disks and panels with differing colour temperatures in different areas, used to not only demarcate the various activity zones but complement different activities in an appropriate ambience. Profile spotlights cast gobo dots onto the off-shuttered ceiling above the pool and red LEDs in the handrail define the edge of each step of the glossy staircase. Above, seemingly floating irregular amorphic mirror disks mingle the reflections from below, with the reflected light from the different exercise areas announcing each space on the upper floor. Scattered custom-made circular incandescent coloured discs contrast with the matt black concrete roof structure lined with service conduits to give mood over the open plan cardio area. By contrast the muscle toning area is lit with lines of cold white LED panels. Windowless glazed boxes against the interior walls for body and mind work appear spacious and intimate. The wide bands of LED lighting from floor to floor are graphically decorative and functional. Fully programmable, RGB colour control allows instructors to set the mood for their specific session.

ALICE LANE HEALTH CLUB, JOHANNESBURGCLIENT: VIRGIN ACTIVE GROUP

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PAMBOUKIAN LIGHTDESIGN DIRECTOR: Paul Pamboukian HEAD OFFICE: Johannesburg, South Africa SATELLITE OFFICES: New York and Zurich ESTABLISHED: 1990 EMPLOYEES: Six CURRENT PROJECTS: Alice Lane High-rise Precinct, Johannesburg; Discovery Concept Store, Cape Town; Eastgate Mall, Johannesburg; Falcons Sculpture, Yas Island Abu Dhabi; Holocaust and Genocide Museum, Johannesburg; Hotel on Garapan Island, China; Le Chaland Resort, Mauritius; Mandela Museum, Johannesburg; Menlyn Maine Central Square, Pretoria; PAIH Office Building, Nairobi; Regent Hotel, Doha; Steyn City Mixed Use Development, Johannesburg

www.ppald.com

The hotels lighting features a glass pendant chandelier, lit with blue and white LEDs mimicking rain falling in the hotels double volume concierge, while 1,000 suspended diamond-like glass crystals lit by recessed RGB LED downlights are programmed to project warm amber colours before fading through to greens, blues and midnight blue. In the hotel foyer red light randomly appears and disappears with the movement of the lifts. LED strips placed in the underside of each tread create a soft warm light up the staircase, while a gentle strip wash from a narrow band of LEDs light the carpets. Bedrooms are entered through a wall of warm light using full-length light boxes, while headboards use light boxes with low bright LEDs that fade down.

HILTON WINDHOEK, NAMIBIACLIENT: UNITED AFRICA GROUPARCHITECTS: WASSERFALL MUNTIN, WINDHOEK AND MARTIN KRUGER

Southpoint Properties lighting concept underscores the open white glass box

building with controlled splodges of fun, brightly coloured, furniture; underlining

its minimalist feel through a basic rational graphic statement. Using a single light

source for general lighting, the fluorescent tube is applied as a standard 28W open channel tube light and a 40W circline,

with the directional linear spacing of the suspended tracks and rhythmic positioning

based on photometric calculations. The cool white light on all floors is broken by warm accent light over areas that

require a more intimate atmosphere. The ground floor coffee bar has a raft of 60

spun lampshades with 5W CFLs clustered together, suspended at the same height to

mirror the counter. Above the customer relations lounge custom-made pendants

with oversized glare-free reflectors create their own ceiling. The same pendants

with additional 50W downlights illuminate the table featured in the orange glazed

meeting room. The multiple fittings work to complement the architectural aesthetics.

SOUTHPOINT PROPERTIES, BRAAMFONTEIN

ARCHITECTS: SILVIO RECH AND LESLEY CARSTENS

[lighting talk] This issue we talk to Jennifer Hamilton, founder of interior design practice The Vawdrey House.

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what made you become an interior designer?I am one of those lucky people who is actually doing what they wanted to do from about age 12 ... and is still loving it! I have always enjoyed making the environment around me better and used to lie awake at night redesigning friends houses. Ive now actually designed many of them in reality for example our Addison Gardens project is the house of an old school friend. I am also a perfectionist and a bit of a control freak I think those are actually good qualities for an interior designer it means I cant stop until I feel the client is happy!

... how important is lighting to your designs?Lighting is crucial. It doesnt matter what you do with a space, if the lighting isnt right - or the effect of the daylight upon the colours and materials used - it wont be as good as it should be. I love atmospheric lighting, which conjures up a mood rather than a task, and I like a space to feel a certain way, whether that is bright and breezy or dark and moody. I dont like bland.

... why is spending time thinking about and working with light important to you?After many years in commercial design at MoreySmith, where we, as the designer, were generally in control when it came to the lighting, I am finding that lighting for residential projects is more subjective. What I think is the best lighting effect or level does not necessarily suit the client - some people like bright houses, some people (like me) err towards dramatic gloom! So, part of my job is to discover the preferences of each client and tailor the lighting to them, while still making the design work as a whole. ... about the role lighting plays in the light of the city? How do you contribute to that?Lighting plays a big role, and for me the focus is on houses in London [1]. For the most part this is under individual control and I love the random and unplanned nature of the residential scene. Do you ever gaze out over a rooftop or street scene at night and wonder about the rooms that you want to be in and those you dont? I want to add more of the ones you do! ... how do you approach lighting a building through architecture?In older buildings I like to keep things soft, mixing general lighting, which you can dim according to taste, with accent lighting, which adds a certain feel on its own. This brick wall forms the back of the

old house we extended in Tunbridge Wells [2] and looks great with antique brass swan necks imitating the old gas lamps.In more modern spaces, I love the way concealed lighting adds an ethereal glow... like this library space for a house in Brook Green [3].

... about the best and worst illuminated spaces you have visited?There is a pub in my home town which has just spent a fortune refitting itself we waited eagerly for the result, hoping this would be a lovely cosy gastro pub for a family Sunday lunch. But no... despite a selection of Farrow & Ball paints and a huge array of different and not totally awful light fittings, which I imagine on paper would have looked like a design-led approach, I think that the heights are all wrong, and everything is too bright and cold. During the day there is no atmosphere at all, and at night its like sitting in the middle of an empty front room with the curtains open and the big light on. Also, surprisingly a lot of hairdressers have awful lighting with sharp spotlights right over your head, leaving horrible shadows under the eyes. On a more positive note, I love cosy low-ceilinged pubs with log fires and candles. The Talbot in Somerset has it just right in their bar... or our recent project for Cullenders Deli in Reigate [4], where industrial wall lights bounce off the tiled walls, creating both a utilitarian and welcoming feel at the same time. ... about the importance of shadows and the balance of darkness and light in your work?Sometimes the change from one element to another is what makes both even better. In a soon to be completed project, we are installing a 4m long tunnel between two cavernous basement spaces. Lined with black, sandblasted oak panels to walls and ceiling and lit only by a concealed LED at the top, this will be an incredibly dramatic space, which will contrast with and enhance the sense of light and space in the rooms either side. In another house in Barnes, London [5] you leave a traditional entrance hall with panelled stairs - just pendant lighting and north facing daylight filtering through a frost glass door - and sliding back the bookshelf step into a bright open-plan living space with full-height glazing by day, and by night a 7m concealed light-raft, which casts a soft light to the length of the space and down the soft linen curtains.

www.thevawdreyhouse.com

COULD YOU TELL ME...

Photo: Siobhan Doran Photography Photo: Siobhan Doran Photography

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Photo: Siobhan Doran Photography

Photo: Siobhan Doran Photography

Photo: Siobhan Doran Photography

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ITS A FAMILY AFFAIRFrom the days of spotlights and Par lamps to the modern day lighting we see today Michael Dunk has experienced it all. Today, he remains at the core of his family run business Lucent, which recently partnered with the darc awards, and sees no reason to call it a day anytime soon.Words by Jill Entwistle.

Lighting has become an awful lot more complicated since Michael Dunk started out as a salesman with Concord Lighting in 1972. With the exception of Derek Philips there were no lighting designers in the UK back then, he said. Everybody used a spotlight or a downlight and chose a Par lamp with a certain beam spread. That was it.Any expertise resided with manufacturers. Dunk likens calling in on leading designers such as Fitch, to a doctors consultation: We would advise on lighting. There were no lighting designers and lighting wasnt a big consideration.But behind the scenes were the seeds of the lighting design profession as we know it today. Barry Hannaford and Maurice Brill, to name just two nascent talents, were in Concords schemes department carrying out the plotting and lighting design on drawing boards (no CAD yet, of course). Dunk, and Lucent, the company he founded in 1990, have followed the development trajectory of the modern lighting profession every step of the way.Rising to national Sales Manager at Concord in 1978, Dunk left in 1984 to become Managing Director of a start-up lighting company called Lighting Workshop, partially backed by Concord and based in Covent Garden, London. The aim was to be a design and supply company, with Maurice Brill running the design side. The company quickly became associated with what was then a new source, low voltage, tungsten halogen.I quickly saw the opportunity for low voltage lighting, said Dunk. The only people to do it properly were the French at the time, and the rst company to do it properly was Mole Richardson, the stage lighting specialist. They teamed up with GE early on, the rst company to bring out the dichroic lamp, and quickly came out with a range of downlights.Having put together an English range from French products, and subsequently US products, LW rapidly made a name in retail, supplying the likes of department stores House of Fraser and Debenhams, along with Bodyshop. LV sources had a bit of a bumpy

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Left The Dolce Vita shopping centre. Right The Plenilunio shopping mall in Madrid.

ride in the early days and Dunk sees a lot of parallels with some of the issues surrounding LEDs as they now bed in as a mainstream source.There were a lot of challenges in low voltage - contractors running bell wire from the transformer to the fixture, or running ten fittings from one transformer. And like LEDs, heat was another issue.Crucially at this time, Dunk began making regular marketing visits to the US. As well as sourcing product, the aim was to grow the companys customer base of North American lighting consultants. Independent lighting design was firmly established and recognised in the US, unlike the UK, where it had only begun to develop in the early to mid-80s, when Jonathan Speirs set up Lighting Design Partnership with Andre Tammes, and consultancies such as Lighting Design International and Equation came into being.With Lighting Workshop acquired by Courtney Pope in 1988 Dunk decided to

strike out on his own in 1990 to set up Lucent Lighting. Although manufacturers still designed the lions share of lighting schemes, his experience in the US had left him with the firm conviction that he only wanted to deal directly with lighting designers, and that the new company would steer clear of the design and supply route.I focussed on this area because lighting designers do quality work, Dunk said. I was also very conscious that to be different to my competitors, I would have to have an edge and that edge would be dealing with lighting designers, particularly those who were working internationally. My aim with Lucent was to cultivate the contacts Id made in the States, especially New York when at Lighting Workshop.In the early years Lucent acted as a UK distributor for German and US lighting companies such as RZB, RSL, Hess and Ardee, but also designed and began manufacturing a limited range of low voltage and metal halide downlights, the

product area that has always been at its core.Initially the company became particularly involved with shopping centre projects, specified by LDP and LDI among others. The breakthrough came with what turned out to be a long association with New York-based lighting designer Theo Kondos, who specified Lucent for a series of malls in Spain and Portugal. He was the guy who helped us in business, in a big way. He recognised in Lucent our ability to recreate his ideas. We did a shopping centre in Spain with him in 1991 - a year after wed started the business followed rapidly by two more. We then did around five a year for eighteen years with both Theo and other consultants. Before the recession in Europe we completed nearly 100 projects.Another seminal figure was Dallas-based Craig Roberts Associates - Dunk having by now ventured further afield in the States - whom they first worked with on

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the Tommy Hilfiger store in Londons Bond Street. It was the association with CRA that led Lucent to switch from distribution to manufacturing with the launch of the first ProSpex lockable, tiltable downlights in 2007. The initial product range was designed specifically to win The Atlantis Palm hotel project in Dubai, (pictured above) with some 10,000 fixtures supplied.I owe a lot to Craig Roberts. He basically couldnt find any European fixtures that had features that compared to American products. At the time he was probably right. Everything here was very stylised. With the Americans it was the Edison Price ethos - dark light reflectors, adjustability, locking on the fixtures and locking rotation so they could focus a job properly. He couldnt find any European company that was doing that so we started building fixtures for his international work.From this point the company created an international distributor network and now has a presence in more than 40 countries.

Lucent also developed its second major range, ProSpex Plus square pyramidal and round conical downlights, as a result of CRA, which was specifying for 22 hotels in Mecca (the Jebal Omar development). It meant a huge investment in tooling. Once again he couldnt find any European fixtures with the square pyramidal look and with lockable tilt and lockable rotation built in. So we did it. Weve completed five of those 22 hotels already - around 16,000 downlights. We have to build all the adjustability into the downlight itself and enable it to be installed from below. Thats the challenge.Lucent also has a long-term relationship with New York-based Schwinghammer Lighting. The first designers ever to design a gimbal slot system in the ceiling, which they created in the late 1980s, said Dunk. We started building gimbal fixtures to Amercian specifications. The company also developed its pinhole downlight for Schwinghammer. Again

it was US consultants highlighting the deficiencies of European fixtures and driving improvements.Europeans at the time werent conscious of glare control, lamps were very close to the bottom of fixtures and very apparent to the eye, said Dunk. Additionally there was no provision for adding louvres and media accessories. The Americans also dont like anything that projects down below the ceiling like pull-down downlights. They taught us how to do trimless fixtures.I would say 70-80 per cent of our range is American driven - all our gimbal fixtures, pinhole downlights, the whole range of square and round downlights, Dunk continued. We owe the American influence a lot and its particularly rewarding that the UK and international lighting designers have also taken to the fixture designs.Dunk likes doing quality projects and seems to positively relish being pushed by the most discerning lighting designers to get it as perfect as possible. I like to work with

Some 10,000 ProSpex tiltable downlights were supplied to the Atlantis Palm hotel in Dubai. The initial product rang was designed specifically with the hotel in mind.

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lighting designers who are very exacting, those who will focus the job themselves at the end and appreciate the features and benefits we have built in. Our products are of a quality and appearance to satisfy the high-end market. I much prefer to supply this area globally because we are less subjected to the ups and downs of the economy.At 68, you might think Dunk was contemplating putting his feet up but he and his wife Valerie are as involved as ever in growing the business, whose turnover is currently growing around ten per cent a year.In 2014 Lucent moved to bigger offices with a showroom in north London and a larger warehouse and technical offices in Enfield, expanding from 330 sq metres to more than 1,100 sq metres. The company also invested heavily in creating its own photometric facility, with further upgrades to come, and has IES files for the majority of its luminaires. Most ambitiously of all, last year it launched its fittings into the US market.It was never my intention to start selling products in the US because there are so many companies there already, said Dunk.

However, in my experience the high-end retailers typically want one manufacturer to supply all their requirements globally. So 18 months ago we bit the bullet and put the majority of our downlights into testing and got ETL [proof of compliance with North American safety standards]. We delivered our first light fittings in February 2014 and we have already exceeded all our expectations.Lucent recently also supplied the Polo Ralph Lauren flagship store in Manhattan (pictured above) and several Mulberry, Tiffanys and Dior outlets. So were starting to appear on their radar, continued Dunk. The lighting designers whove used us internationally are starting to use us there as well. Were probably the only UK company thats really concentrated on the US market for so long. Around 60 per cent of our business now comes out of the States.A fair number of lighting companies have fallen by the wayside over the 25 years of Lucents existence, and family businesses are notoriously prone to staleness and stagnation. The companys winning formula is straightforward - remaining true to its founding principles, constant reinvestment,

dedicated staff and an excellent management team, a vigorous approach to innovation and business opportunities, and the willingness to consistently go the extra mile - lighting designers are an exacting bunch when it comes to getting a precise specification backed up by highly responsive service. Some 40 per cent of the fixtures Lucent supplies are standard products that have been customised. You have to be flexible, said Dunk.When Lucent started out there were just four people. There are now 45 in the UK alone. Dunk is quick to pay tribute to the backing and support hes received over the past 25 years from his wife Valerie. She has been the ying to my yang. Constantly making me think about and consider decisions and directions we have taken, she and has certainly been a great partner.Im pleased with the way its going but you have to bear in mind we are still a family business, its our own money. We enjoy what we are doing. While were still actively running the business and enjoying it, well carry on.www.lucent-lighting.com

Above Llft The Dior store in Milan was a major turning point in the retail sector for Lucent. Top The Lucent team with Michael Dunk and wife Valerie centre. Above left The Polo Ralph Lauren project in New York - central to the companys move into retail. Above The Principe Pio shopping centre in Madrid.

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054 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVRD, DENMARK

CIRCULATING COLOURThe Novo Nordisk Campus consists of two central buildings that are each architecturally unique in their own right but together form the framework of the Danish companys new headquarters.

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Pics: Sren Aagaard and Christina Augustesen, Grontmij Novo Nordisk

056 PROJECT / NOVO NORDISK HEADQUARTERS, BAGSVRD, DENMARK

Novo Nordisks new headquarters in Bagsvrd, Denmark, is the work of Henning Larsen Architects. Home to the companys top management, along with around 1,100 administrative staff, the architecture consists of two office buildings sited in a verdant and inviting landscape, inspired by the Danish forests and landscapes. The largest of the two buildings, NN1, is six stories tall, is characterised by a cylindrical massing and comprises a central atrium, auditorium, offices, meeting rooms, quiet rooms, a library, classrooms, kitchenettes and canteen.The complexity of the insulin molecule was a source of inspiration for the architecture, with the helix structures of the insulin molecule creatively informing the buildings rounded form, the atriums spiralling inner staircase and the dynamic white balconies. The architecture aims to create a lively space for people to meet, where synergies

can be created between employees across different fields, and with guests from around the world.The second building of the campus, NN2, is a wedge-shaped, four story edifice. It has an independent formal expression, yet still relates to the circular-formed neighbouring building. The wedge-shaped geometry of NN2 creates a coherent complex of lower polygonal buildings, which help stage a focal point the circular main building, NN1.From early on in the design development, it was Novo Nordisks desire to bring in a lighting designer and so the lighting design team at Grontmij were heavily involved from start to finish. Based on the architectural visions of Henning Larsen Architects and Novo Nordisk, while considering the diverse functional and aesthetic needs, Grontmijs lighting design team created a lighting strategy that

ensured an overall lighting concept and hierarchy for the integration of various lighting elements.The lighting strategy has worked to accentuate the buildings iconic significance and identity, the movements and flows throughout the building, and its appearance and functionality during the daytime, evening, and night time hours. So strong was this strategy that Novo Nordisk was awarded the 2014 Danish Lighting Award.This was achieved through a varied lighting environment, where orientation and movement are controlled by vertical lighting, low placement of lighting elements, and variations in lighting levels and lighting characteristics (for example, variations in direct and diffuse lighting, as well as colour temperatures).Anne Bay, Jury Chairman and Director of the Danish Lighting Center commented: The lighting is integrated and enhances the

Henning Larsen ArchitectsBagsvrd1,1002NN16NN2NN2NN1Grontmij

Henning Larsen ArchitectsGrontmijGrontmij

(Novo Nordisk) Bagsvrd (Henning Larsen Architects) 1,100 NN1 NN2

NN2 NN1Grontmij Novo Nordisk Grontmij

Le nouveau sige de Novo Nordisk Bagsvrd au Dane-mark, est luvre du bureau dtudes Henning Larsen Architects. La direction de la socit et environ 1 100 membres du personnel administratif profitent de lar-chitecture de deux immeubles de bureaux lovs dans un paysage verdoyant et accueillant, inspir des forts et des paysages danois. Le plus grand des deux bti-

ments, le NN1, comporte six tages caractrises par une volumtrie cylindrique comprenant un atrium cen-tral, un auditorium, des bureaux, des salles de runion, des salles de repos, une bibliothque, des salles de classe, des kitchenettes et une caftria. Le NN2, le deuxime btiment, est un difice en pointe de quatre tages. Il montre un achvement formel indpendant, mais sagence tout de mme au btiment circulaire voisin. La gomtrie en pointe du NN2 cre un complexe cohrent de btiments polygonaux moins levs et of-fre un point de convergence avec le btiment principal circulaire, le NN1. Ds le dbut de llaboration de la conception, lentreprise Grontmij tablit une ferme implication. Lquipe de conception de lclairage de Grontmij imagina une stratgie assurant un concept dclairage gnral et une hirarchie pour lintgra-tion des diffrents lments dclairage, bas sur les visions architecturales de Henning Larsen Architects et de Novo Nordisk, tout en tenant compte des divers besoins fonctionnels et esthtiques.

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The atrium and staircase in the NN1 building. The lighting concept for the atrium has been focused on emphasising peoples movements and a flow upwards through the building, as well as on creating lighting that is of an understated nature yet provides grand visual effects.

architecture and the buildings functions without drawing attention to itself. This project exemplifies the excellent developments in contemporary lighting design, where it is not the light itself that is eye-catching, but the architectural totality and the atmospheres that are createdby the light, The strategy developed by the team at Grontmij has ensured sustainable lighting by prioritising illumination levels, placement and control. The lighting strategy has been an important design parameter throughout the entire design and construction process, and the detailed planning followed the same lighting strategy as well. Moreover, it has been a crucial factor in interdisciplinary understandings and communications.The design and implementation of the lighting was carried out in close collaboration between the client, lighting designers, architects, interior designers,

Left Atrium, Building NN2 - the dynamic lighting scenarios in the skylight uses warm white light, amber shades, and light in blue-green-purple shades. Right Building NN1 - the canteen lighting; lighting of the atriums smaller light-zones; lighting of the auditorium in a blue scene.

contractors, and suppliers, and the project-specific solutions were tested in onsite mock-ups. Based on the lighting strategy, concepts were then developed for the atrium, auditorium, library, meeting rooms, canteen and kitchenettes.The cylindrical form of the atrium is highlighted by the vertical lighting of the wall surfaces in the atriums circulation zones, whereby the shape of the atrium is heightened. The circular staircase has lighting integrated into its handrail, which illuminates the wood treads in a manner that reflects the light in a warm glowing colour. The handrail naturally provides a safeguard, but its built-in lighting also illuminates the horizontal tabletop surfaces in the break out spaces located along the balconies. This safeguarding element becomes a luminous parapet that flows and wraps its way around the glazed roof of the atrium, which is accentuated by pale

blue light. The parapet illuminated in warm white light contrasts naturally with the pale blue.At the bottom of the atrium, smaller light-zones are created within the greater space with the help of floor lamps, table lamps and directed light from pole-mounted luminaires. These lighting elements create a more intimate ambiance and smaller momentary spaces that can be used for short meetings and briefer stays. The design also offers variations in light zones and lighting atmospheres, which simultaneously support the functional and aesthetic needs of the people using the building.Throughout the entire design process the focus remained on integrating the luminaires into the architecture and avoiding glare so that light is primarily visible when it hits the various surfaces. The lighting system has been implemented using energy efficient LED light sources.

Der neue Firmensitz von Novo Nordisk in Bagsvrd, Dnemark, ist die Arbeit von Henning Larsen Architects. In dem Gebude ist neben dem Verwaltungspersonal mit rund 1.100 Angestellten die oberste Fhrungsebene des Unternehmens untergebracht. Die Architektur besteht aus zwei Brogebuden, die in einer grnen und einladenden Landschaft liegen und durch die dnischen Wlder und Landschaften inspiriert wurden. Das grere der beiden Gebude, das NN1, hat sechs Etagen, kennzeichnet sich durch einen zylinderfrmigen Komplex und umfasst ein zentrales Atrium, ein Auditorium, Bros, Konferenzrume, Ruherume, eine Bibliothek, Unterrichtsrume, kleine Kchen und eine Kantine. Das zweite Gebude, das NN2, ist ein keilfrmig geformtes Bauwerk mit vier Etagen. Es hat einen unabhngigen formalen Ausdruck und ist den-noch verbunden mit dem kreisfrmig geformten Nach-bargebude. Die keilfrmige Geometrie des NN2 schafft einen kohrenten Komplex kleinerer, polygolaner Gebude, die dazu beitragen, einen Blickpunkt zu inszenieren das

kreisfrmige Hauptgebude NN1. Von Beginn der Desig-nentwicklung an war das Team von Grontmij stark beteiligt. Auf Grundlage der architektonischen Visionen von Henning Larsen Architects und Novo Nordisk hat das Beleuch-tungsteam von Grontmij unter Bercksichtigung diverser funktioneller und sthetischer Bedrfnisse eine Beleuch-tungsstrategie geschaffen, die ein komplettes Beleuch-tungskonzept gewhrleistet und fr eine Hierarchie bei der Integration der verschiedenen Beleuchtungselemente sorgt.

La nuova sede di Novo Nordisk in Bagsvrd (Danimarca) stata realizzata da Henning Larsen Architects. Sede del top management della societ, insieme ad un personale amministrativo di circa 1.100 persone, larchitettura si compone di due edifici per uffici situati in un invitante paesaggio verdeggiante, ispirato ai boschi e ai paesaggi danesi. Il pi grande dei due edifici, NN1, alto sei piani, caratterizzato da una volumetria cilindrica e comprende un atrio centrale, un auditorium, degli uffici, delle sale ri-unioni, delle hall, una biblioteca, delle aule, delle piccole

cucine con angolo cottura e una mensa. Il secondo edifi-cio, NN2, di quattro piani ed a forma di cuneo. Esso presenta un`espressione formale indipendente, ma si rif ancora agli edifici circostanti che sono di forma circolare. La geometria cuneiforme del NN2 crea un complesso coer-ente di edifici poligonali pi bassi, che aiutano a mettere in risalto ledificio centrale circolare NN1. Il team di Grontmij stato fortemente coinvolto sin dallinizio dello sviluppo della progettazione. Sulla base delle visioni architettoniche di Henning Larsen Architects e Novo Nordisk, tenendo conto delle diverse esigenze funzionali ed estetiche, il team di progettazione luci di Grontmij ha creato una strategia di illuminazione che garantisse un concetto di illuminazione generale, ponendo maggior attenzione allintegrazione di vari elementi di illuminazione.

Las nuevas oficinas centrales de Novo Nordisk en Bagsvrd, Dinamarca, es obra de los Arquitectos Henning Larsen. Siendo el lugar donde se encuentra la alta gerencia de la empresa junto con alrededor de 1.100 empleados adminis-

trativos, la arquitectura est compuesta de dos edificios de oficinas ubicados en un verde y acogedor paisaje inspirado en los bosques y paisajes Daneses. El edificio ms grande de los dos, el NN1, tiene seis pisos y se caracteriza por contar con una distribucin cilndrica y est compuesto de un patio central, auditorio, oficinas, salas para reuniones, salas de descanso, una biblioteca, salones para capacita-ciones, cocinas y un bar. El segundo edificio, el NN2, tiene forma triangular y es de cuatro pisos. Cuenta con una ex-presin formal independiente, aunque an guarda relacin con el edificio vecino de forma circular. La geometra en forma triangular del NN2 crea un complejo coherente de ed-ificios ms bajos con forma poligonal, lo cual ayuda a es-tablecer un punto de fuga - el edificio principal circular, el NN1. El equipo en Grontmij estuvo fuertemente involucrado desde un comienzo en el desarrollo del diseo. Basndose en las visiones arquitectnicas de Henning Larsen Archi-tects y Novo Nordisk, a la vez que consideraba las distintas necesidades funcionales y estticas, el equipo de diseo de iluminacin de Grontmij cre una estrategia que aseguraba un concepto general en iluminacin y una jerarqua para la integracin de varios elementos lumnicos.

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each programmed with a specific dynamic lighting configuration. The different colour shades shift in a slow tempo, characterised by a soft and gradual transition from one shade to another. Most of the scenes work with white light nuances, which span a spectrum from bluish light to neutral white light, and finally to warm light in the form of dark golden hues. The scenes are programmed to align with the daytime lightings diurnal and seasonal rhythms, as well as to demarcate special holidays.www.lighting.grontmij.dk

Novo Nordisk, Krogshjvej, Bagsvrd, DenmarkClient: Novo NordiskArchitect: Henning Larsen ArchitectsLighting Designer: Christina Augustesen, Lighting, Grontmij in cooperation with Henning Larsen Architects

PROJECT DETAILS

LIGHTING SPECIFIED

ERCO Quintessence downlight and wallwasherERCO Compar spotlightFagerhult AS RAY 2 ceiling lightFagerhult AS Notor ceiling lightFagerhult AS Pleiad Comfort downlightFagerhult AS Phase spotMartin Professional Tripix 300 linear LED stripOsram LINEARlight FLEX Osram Double grazerOsram Washlight - RGB and 2700 WhiteOsram Floodlight - RGB and 2700 WhiteTraxon Nano Liner Allegro AC lightsTraxon DMX control system

Furthermore, the lighting system has used luminaires that shield the light sources in order to avoid visual discomforts of glare to the greatest extent possible and the luminaires light distribution, colour temperatures and colour renderings have been selected based on the functional needs. For example, in the canteen, library, and meeting rooms, spots with a colour temperature of 3,000K, a Ra-value of +90 and a narrow beam light distribution have been utilised. This was done in order to create direct light that gives high-quality colour rendition on the surfaces of the tables in these areas. The direct light and the warm colour temperature support daily functions, as well as supporting direct communications between the people using the building.The direct light has been combined with linear recessed luminaires and wide-beam spots (with a colour temperature of 4,000K and a Ra-value of +80) for the wall lighting and general lighting; this helps frame the various spaces and transitional areas. The combination of diffuse and direct light supports visual comfort, as well as ones experiences of the spaces, forms and textures.The second building of the Novo Nordisk Campus, NN2, offers a spectacular sculptural atrium, offices, meeting rooms, a

canteen, and a diversity of ancillary spaces. Similar to NN1, this buildings focal point is its atrium, which visually and physically connects the four stories and manifold functions. The atrium has been designed with 50 skylight baffles that poetically disperse daylight into the space and the buildings core. The design and direction of the skylight baffles, influence the play of light and shadow taking place in the building throughout the day and across the year. Daylightings dynamic behaviour juxtaposed with the design of the electric lightings intensity, direction, and colour temperature help to create the appearance of changing ornamentation in the skylight baffles, as well as in the atrium and its adjacent spaces. On the occasions when daylight is insufficient such as evening hours and the winter months the electric lighting comes to aid.The concept of the electric lighting involved creating lighting that partly supports the daytime lighting du