mondo*arc Febuary/March 2016 - Issue 89

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THE INTERNATIONAL MAGAZINE FOR DESIGNERS WITH LIGHT #89 2016

TUBULAR BELLESNOMA EARTH TUBES BREATHE LIFEINTO NORTH MANCHESTER

PAULE CONSTABLE ARCHITECTURAL LIGHTING DESIGN IN THEATREFESTIVALS OF LIGHT CASAMBI BENCH TEST LIGHT+BUILDING PREVIEW

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The Lumenpulse family continues to growIntroducing Exenia

Join the team in Hall 1, Level 1, Booth E20.

Exenia is the latest addition to the Lumenpulse family! Based in Italy, Exenia combines decades of lighting experience and expertise to offer a versatile portfolio of interior architectural

LED solutions. The brands comprehensive range of products, including suspended and wall mounted luminaires, downlights,

spotlights, and lighting systems, will be showcased at Light + Building 2016.

a brand of

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Specialists in customised lighting to suit your design

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Hollywood has come to Macau with the

opening of the newest attraction, Studio City.

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The facade lighting of Studio City has been a single

all-encompassing project for illumination Physics, from concept

to completion. The lighting design and the purpose specific

design of the fixtures manufactured and supplied by Illumination

Physics include over 12,000 luminaires for the podium and

towers. A modern and 100% LED treatment for a grand Art-Deco

architecture, included wash lights, back lights and media dots,

all created specifically for the project as part of an Illumination

physics total design and build solution. The control system

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complete the circle of responsibility for the visual outcome.

Illumination Physics is a project focussed total service provider.

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[feb/mar]062 Interview mondo*arc speaks to Paule Constable, winner of Olivier and Tony awards for her work in theatrical lighting design.

030 Editorial CommentLooking back to the year just gone and what lies ahead.032 HeadlinesThe latest architectural lighting industry news. 034 Eye OpenerThrough No. 3 by Liz West.036 Drawing BoardOur preview of proposed projects.040 SpotlightA selection of brand new projects from around the world.050 BriefingWe talk to Kerem Asfuroglu about his love of lighting design and graphic novels.052 SnapshotPresenting PLANLUX.054 Architect Interviewmondo*arc talks to Yoshi Tsukamoto of Atelier Bow Wow to discuss his views on lighting in architecture.062 Lighting Interviewmondo*arc talks to Paule Constable.258 InspirationsMandala, a multidisciplinary design studio based in Dehli, India.

DETAILS ART & DESIGN TECHNOLOGY

156 Dark Source StoriesThe latest installment in Kerem Asfuroglus dark vision of light.158 LumiereFrom Durham to London, Artichoke organises

two Lumiere light festivals in two months. 166 Amsterdam Light Festivalmondo*arc editor Paul James was on the judging panel to choose the installations.172 Enlighten ManchesterThe festival of light transformed the citys public spaces into a cultural celebration. 178 Lewes Light FestivalTaking over Lewes in South-East England, the festival aims to promote the towns history and beautiful architecture.180 Loomings David Ogles Loomings encapsulates the artists desire to escape the built-up world we live in. 186 Pixel FlowClaudia Paz Studios latest light art installation.190 Timeless EleganceACT Lighting Designs installation illustrates the concept of the suspension of time.192 LevityHenk Stallingas Levity exhibition transforms product design into sculptural works of art.

194 IALD ColumnPaul Beale explains the importance of being prepared when looking for the perfect job in lighting design.196 Geoff Archenhold

Dr Archenhold investigates smart lighting

products.198 Rethink the Night!The International Lighting Design Seminar on

Kea, Greece saw the Hellenic Illumination

Committee create Rethink the Night!, aimed at

developing night friendly lighting techniques.200 Case StudiesA selection of innovative lighting projects from

suppliers including: Lightworks, Prolicht, A&O

Technology, Concord, Acclaim Lighting, Grupo

MCI, RCL, ERCO, Insta, Griven, Aion LED, CLS,

LEC-Lyon, Osram, Tridonic, Lug Light Factory,

Lumenpulse, Soraa.236 Bench TestDavid Morgan looks at the Casambi app for smartphones and tablets.239 Light + Building 2016 Preview A preview of some of the big product launches

set for launch at Light + Building 2016.

026 CONTENTS

Pic: Jane Hobson

Front cover pic: NOMA Earth Tubes by David Lake Photography

GRIVEN S.r.l. I Castel Goffredo I MN I Italy I Tel. +39.0376.779483 I Fax +39.0376.779682 I [email protected]

ONYX:INSPIRATIONALILLUMINANCEFeaturing an incomparably functional, ultra-narrow, sharp beam of light capable of reaching previously unthinkable distances with LEDs, the newly engineered ONYX is for architectural challenges demanding unprecedented and sustainable lighting performance. With options of 96 RGBW, cold, warm or dynamic white high brightness LEDs and just 310W, ONYX reaches further than your expectations.

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Visit us at

Light+Building13-18 March 2016

Frankfurt am Main

Hall 4.1 Stand C10

[feb/mar]

PROJECTSPROJECTS

074 National Theatre, UKOutlined by environmental design consultants Atelier Ten, the lighting of Londons newly refurbished National Theatre has transformed it into a place of artistry and community.

082 Ryan Centre, USAGoettsch Partners Ryan Centre for the Musical Arts has been brought to life by Schuler Shooks integrated lighting scheme, which marries illumination with art and music with design.

090 Mehr! Theatre, GermanyWith lighting design from Jack Be Nimble distinguishing flexible realms within a historical building, an unforgettable theatre experience has been created.

096 NOMA Earth Tubes, UKCundall Light4 was appointed by The Co-operative Group and Hermes to provide the lighting design for three earth tubes at the new Co-op Group office building in Manchester.

PROJECTS

OnlineNational Theatre, London by Haworth Tompkins and Atelier Ten.www.mondoarc.com

104 Victoria Grande Fort, MoroccoDCI lighting practice enhances the restoration work taking place by Chacel 8 Architecture through unobtrusive design.

118 German Gymnasium, UKPaying special attention to the buildings spectacular architecture, Into Lightings illumination of Londons German Gymnasium restaurant is sympathetic to its history.

124 Hilton Schiphol Hotel, The Netherlandsdpa lighting consultants developed an advanced LED lighting system that works to create a variety of atmospheres within the hotel.

134 Deirdre Dyson Showroom, UKLighting Design International has created a lighting design that works within the minimalist architectural space, reinforcing Deirdre Dysons reputation as a contemporary designer.

138 HSBC HQ Atrium, Hong KongWith clean lines of light used to emphasise the striking Foster + Partners architecture, the main banking hall of HSBCs HQ in Hong Kong is the recipient of considered architectural illumination by MindsEye Lighting Consultants.

142 Grace Farms, USABuroHappold Engineerings lighting team worked alongside SANAA and Handel Architects to create a unique space for the arts and community of New Canaan, Conneticut.

152 Guastalla Kindergarten, ItalyMario Cucinella Architects has created a unique space for children to learn and discover at a new kindergarten in the Reggio Emilia region of Italy. A delicate lighting design that achieves a high level of environmental standards was achieved through a considered approach.

074

028 CONTENTS

Pic: Philip Vile

EditorialPublisher / Editor

Paul James

[email protected]

Deputy Editor

Helen Fletcher

[email protected]

Editorial Assistants

Laurence Favager

[email protected]

Femke Gow

[email protected]

AdvertisingAdvertising Manager

Jason Pennington

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Advertising Sales

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SubscriptionsDanielle Ramsden

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ProductionDavid Bell

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ChairmanDamian Walsh

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Finance DirectorAmanda Giles

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Credit ControlLynette Levi

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[editorial]Paul James, editor, writes: Theatre has always been an important breeding ground for architectural lighting designers. There are many award winning designers who now practice in the built environment that owe their skills and passion to an initial career in an environment much more transient in nature. Architectural lighting designers work with other designers and clients to create the correct ambiance through practical, working designs; the two sectors of the lighting design profession utilise many of the same skills. Some, of course, thrive in theatre and quite clearly wouldnt want a career in anything else. You get the impression that one

such person is Paule Constable, the Olivier and Tony Award winning lighting designer of such productions as The Curious Incident of the Dog in the Nighttime, War Horse and Wonder.land. Lighting is a very diverse medium, from theatre to architecture it can be manipulated to impressive effect and Constable is very aware of the influence that architectural lighting design has on her. Talking of Speirs + Major, a firm staffed with talent drawn from the worlds of theatre, cinema, illustration, lighting technology and graphic design as well as from architecture and interior design, she shows her admiration: Ive always really loved their work because its story driven. I love their relationship to landscape and talking to them, I was fascinated to see how similar their thinking was to mine. I look at architectural lighting design, particularly in interiors - it can be quite functional or it can be quite transcendent. With a strapline like Designers With Light we make no apology for featuring a theatrical lighting designer on our pages. We can learn a lot from the medium and I know many of you have and still do. After all, you often get to create magic with your schemes, just like Constable does in her theatrical work.

Helen Fletcher, deputy editor, writes: As a biennial event, this years Light + Building will be my first. Although not my first time visiting the Messe Frankfurt, I have heard the tales; been warned how sore my feet will be by the end of it; and was already well aware of the shows reputation and scale - even before entering the architectural lighting industry. So Frankfurt, I have great expectations and Im looking forward to seeing what innovations will be introduced to the world of architectural lighting. If the sheer size of this issue is anything to go by, I wont be disappointed... Alongside our Light + Building preview, project wise weve got

some outstanding theatres that use architectural lighting to create a drama rich setting starting with the National Theatre in London on page 74; the Ryan Centre in Chicago on page 82 and the Mehr! Theatre in Hamburg on page 90. We also take a look at the work of DCI lighting practice on darc awards entrant Victoria Grande Fort on page 104; a first look at dpa lighting consultants work with Mecanoo on the new Hilton hotel at Schiphol airport on page 124; and BuroHappolds stunning work at Grace Farms in New Canaan, USA on page 142. This issue also features a whole host of festivals of light in our Art & Design section starting with Lumiere London on page 158. I mustnt forget our second big interview this issue - as well as chatting with Paule Constable, Laurence Favager spoke with Yoshi Tsukamoto from architectural practice Atelier Bow Wow, turn to page 54 to read more. This is merely a snippet of great reads youll find in this bumper issue, so enjoy and well see you in Frankfurt!

030 DETAILS

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news headlines

IALD Lighting Perspectives at Light + Building 2016(UK) One-track conference to offer two-days of free seminars plus Designers Lounge and art installation from artist in residence Liz West.

Read the full story online...

Crestron appoints Head of Operations and Logistics EMEA(USA) Based in EMEA Headquarters in Belgium, Stefan Bendfeldt brings 20 years of logistics management experience to control and automation system manufacturer.


Shanghai Feilo Acoustics acquires majority stake in Havells Sylvania

(China) Feilo and Havells Holdings agree on 80% stake to create new global lighting organisation Feilo Sylvania.


ETC announces new regional manager for Middle East

(USA) After previously establishing Stage Electrics Dubai branch, Darren Beckley

brings to ETC wealth of experience working in lighting and stage technology industry

across Middle East.


iGuzzini UK promotes Griths to Retail Development Director(UK) David Griffiths has been promoted to Retail Development Director of iGuzzini UK after being National Retail Development Manager for ten years.


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WILA joins Nordeon Group(The Netherlands) Making use of WILAs

reputation in architects and specification market, Nordeon Groups acquisition

of interior architectural lighting brand strengthens its position as international

lighting company.


For the latest news stories, head online: www.mondoarc.com

7

In pictures 1 Mike Collett, CEO of WILA 2 Darren Beckley - ETCs new Regional Manager, Middle East 3 David Griffiths, Retail Development Director of iGuzzini UK

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4 Souvenir of Feilo from Sylvania International Growth Conference 2016 5 Stefan Bendfelt, Head of Operations and Logistics EMEA at Crestron 6 Liz West - Your Colour Perception 7 Caitlin Bucari,

John Conley, Lauren Tyler

032 DETAILS

The Lighting Practice grows(USA) Caitlin Bucari promoted to

Project Manager, while John Conley and Lauren Tyler join as new members of

design team.


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Commissioned by Castlefield Gallery and Allied London, Manchester-based artist Liz West created a brand new art installation for Crown Square, Spinningfields at the end of 2015.

Standing six-metres long, Through No.3 was a triangular prism of light and colour, continuing the artists exploration of the relationship between the two mediums as primary material for artwork. Passing through the triangular passage, visitors see the world around them

transformed by saturate colour as the transparent walls create an array of different hues, altering the colourations of the outside world.

Pic: MDP Photographywww.liz-west.com

Through No.3, Manchester, UKeye opener

034 DETAILS

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

Lighting practice Nulty has supported architect and urban designers Studio Egret West in delivering a design manifesto that will build on the iconic brand of the London Underground for the next generation of stations within the LU Station Design Idiom (LUDI). Nulty was appointed to deliver the lighting concept, using light as a tool to create ambiance across the stations, building on the core aspects of safety and functionality.With built up layers of light that will aid passenger flow and define important areas, the lighting approach adds depth, texture and drama to create station spaces that have impact.The lighting within the Idiom considers the way staff and customers move around and perceive space. This is achieved by an increase in contrast and small increase in average light levels, as well as the improved application of vertical illuminance. By

GOING UNDERGROUND

036 DETAILS

overlapping several layers of light, Nulty has also introduced colour temperatures that will radiate warmth throughout the Underground spaces.By moving away from a homogenous approach to lighting currently found within the Underground, and replacing it with a soft ambiance, commuter stress and fatigue should be diminished.Alongside engaging the senses, the lighting defines platform edges, entrances and exit points and accentuates the curves of the tunnels to create atmosphere.Energy efficient and sustainable lighting, in line with London Underground lighting standards, is used. Paul Nulty, Founder of the lighting practice, commented: To deliver a new lighting philosophy for such an iconic part of Londons DNA has been an incredible opportunity for the Nulty team.Chris Bonner, Head of Customer

Environment and Design, London Underground, added: We knew that light and the creative use of lighting would have a transformational impact on our stationenvironments and our customers perceptions of these spaces, but to go beyond the functional, we needed a new philosophy. Nulty was the perfect partner, working closely with internal experts on thenew approach, which considers layers of light to help orientate customers, highlight key pieces of information and animate historic features.The new lighting philosophy forms part of Transported by Design - a campaign by TfL that explores good design on the transport network and its role in the lives of themillions of customers who use it each day.The LUDI is set to be published this year as an edition for purchase by members of the public.www.nultylighting.co.uk

Targetti has extended their portfolio of architectural lighting solutions with a new range of

outdoor floodlight projectors: DART.

The compact design fits easily into any environment and offers a versatile array of luminous flux

and output in both small and medium versions. A full range of powerful optics and aesthetically

coordinated accessories make DART the ideal solution to illuminate both large areas or provide

accent lighting.

DART is an ideal solution for lighting design - precise and efficient, yet extremely versatile.

DART - technology & design crafted by Targetti.

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DART

WHAT DO YOU LIGHT ?

LIGHT + BUILDING / 13 - 18.3.2016 / VISIT US: HALL 3.1 STAND A 51

UNDERLINING MIAMI

[drawing board]

Horton Lees Brogden Lighting Design is currently collaborating with James Corner Field Operations to establish illumination strategies for the ten-mile Miami Underline linear park in the US, which will detail the typical path approach and its adaptation to multiple feature areas. The Underline is organised in outdoor character rooms, each of which has its own character and function. HLB designed a flexible lighting scheme that gives capability for adaptation of the illumination to the requirements of each specific room.The typical Underline path transverses many diverse urban landscapes, which include residential neighbourhoods, business districts, the University of Miami and a variety of challenging intersections.Normal operating will be dimmed to 50% and each light pole will have a sensor that brings the light to full output when motion is detected. This feature allows for energy savings along the ten-mile spine, maintainslow light levels in residential areas, and notifies cars and pedestrians when there is a presence on the path.Friends of the Underline, the non-profit organisation that is fostering the design, is currently looking for funding for the entirety of the project. In the meantime, many of the feature areas are expected to begin the formal construction documentation process.www.HLBlighting.com

038 DETAILS

artemide.co

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ADV Algoritmo.indd 1 13/02/16 16:42

Pics: Artist, Ronaldas Buozis, Allisamazing

040 DETAILS

The Star is a five-storey lighting installation by architect-artist Jun Ong, created as part of Urban Xchange Festival in Butterworth, Penang, Malaysia. Inspired by the notion of glitch, a twelve-sided star-shaped installation appears almost as an error or temporary irregularity, suddenly finding itself lodged within the concrete superstructure of an unfinished building by the street of Raja Uda. The term glitch is used to describe a spike or change in voltage in an electric current, first recorded in a space program. It is a manifestation of the sterile conditions of Butterworth, a once thriving industrial port and significant terminal between the

INTRASTELLAR

[spotlight]

mainland and island. The odd juxtaposition of Star with its host creates new relationships, both tangible and intangible. The installation is an accumulation of digital and analogue irregularities, becoming a transient portal to a new dimension. Comprised of five hundred metres of steel cables and LED strips, Star abstracts kitsch street decorations with electrical cables, transposing them into a formal, recognisable entity. The cables are anchored to the ground, slabs, cantilever beams and adjacent buildings to form the overall shape. As one steps closer, the installation segregates itself into several floors, each becoming its own spatial

experience. The form breaks down into glowing lines, each fragment holding its own electrical and structural characteristic. The spatial installation is a speculation for the future of Butterworth, connecting various existing dimensions on familiar terrains to unearth new relationships. The project was curated by Eeyan Chuah and Gabija Grusaite from the Penang-based contemporary art centre - Hin Bus Depot, which earlier this summer showcased a virtual reality sculpture garden entitled Virtual Borders: Arizona. www.jun-ong.com

The latest projects with the wow factor from around the world.

000

REAL-TIME INTERACTION

160, a real-time light installation, was created for the Asian Civilizations Museum at Singapore during the River Nights Festival in October 2015 by French creative studio Trafik, based in Lyon.Co-produced by Tetro with sound design from Maize, 160 is a light and sound instal-lation of 60-metres long, four metres wide, and three metres in height, composed of 20 frames. Each frame is composed of eight light tubes, for a total of 160 total light tubes. The basic idea behind the project was to create a large scale installation that could be seen from afar as well as from several point of views.The installation creates animated graphics

and visual perspectives that alter the per-ception of the basic volume. Visitors could play in real time with the installation by using a touch pad, interact with it in three ways. Firstly, in colour mode, users could choose the colour of the frames. Then, in animation mode, they could choose from a dozen animated sequences. Finally, in music mode, they could compose their own light and sound se-quence. In combining all three modes, 160 became a real instrument of light and sound that could be explored and walked through.www.lavitrinedetrafik.fr

Pics: Trafik

041

042 DETAILS

The clocktower at the heart of the Kirkstall Bridge shopping development in Leeds, UK, was created as a response to the industrial history of the area. The screen-printed glass cladding features images of industrial arte-facts and processes specific to Kirkstall. Each visual component of the clock mech-anism is created from photographs of sur-rounding industrial elements: the pendulum - a forge-made vehicle axle and the clockface - the original Thrift Stores clock. Theclock tower itself is wrapped in an imageof a woollen spool, reflecting the blanketmaking and textile fulling activities carriedout nearby.James Poore Lighting Design (JPLD) wasappointed by the artist and creator of thetower, Kirsty Brooks, to develop a subtlelighting scheme that emphasised elementsdescribed in the narrative while helping toestablish the piece against a visually busybackdrop.The clock face lighting is tuned to the day-light ambient level, ensuring its comfort-able to view regardless of the time of day.In appreciation of the industrious energyof the site and the people who occupied it,the internal lighting is changed to looselyreflect our natural body rhythms; coolerwhite light in the morning with a blue lightfade on the hour, moving through to a redfade at midday and to a warmer white intothe afternoon. All the time subtly backlight-ing the stunning glass work by Brooks andbringing the story to life, giving differentviews and aspects depending on the lightpassing through, be it natural or artificial.The sound and rhythm of these processesand machinery provided an ever-presentbackdrop to the lives of workers and resi-dents of Kirkstall. The clock tower reflectsthis rich history, providing a visual link tothe past.The design and treatment of the glass wasadapted in conjunction with JPLDs lightingconcept to maximise the light transmissionand diffusion as well as concealing of theluminaires and controls.A simple yet robust scheme was createdusing RGBW linear luminaires to achieve theinternal lighting and back lighting of themain glass, with a dimmable LED sheet solu-tion through a semi-opaque diffuser used tobacklight the two clock faces.The whole system is programmed andcontrolled via a basic Pharos control unithoused in an enclosure in the base with adaylight sensor on top of the tower to moni-tor changes in ambient light level.www.kirstybrooks.co.ukwww.jpld.co.uk

A BRIEF HISTORY OF TIME[spotlight]

[spotlight]

044 DETAILS

BLITZFNGER is an interactive installation that allows up to nine people to create and control lightning on a large-scale AHL C1 Cross-Mesh LED screen. It was created by Iregular - a Montreal-based studio founded in 2010. Working at the intersection of art and technology, the studio approaches design using a code-driven and real-time mindset. Creators of audiovisual experiences for installations and websites, its work combines geometry, typography, light and sound with software, mathematics and algorithms. The result are systems with infinite possibilities, making every instant of its projects unique. As a homage to the power of nature and an attempt to control it, in BLITZFNGER the audience is invited to grab one of the three-metre poles from the floor and

LED LIGHTNING

Pics: Daniel Iregui

position them vertically like lightning rods. As soon as they do, a system detects their position and lightning appears on the LED screen allowing them to control them with their movement. This project was created as part of the Human Futures program of artistic exchange between Europe and Canada and wunder the living spaces curatorial theme. BLITZFNGER took place in 2015 at the entrance of a new residential complex outside of Vienna, Austria in between the train and the buildings and was designed to disrupt the routine of the inhabitants that enter and leave the complex on a daily basis, allowing them to get to know, or at least see, the people they live amongst. www.iregular.io

[spotlight]

046 DETAILS

Since 2012, Austria-based Ars Electronica Futurelab has been working on the Spaxels Project - an army of LED-studded quadcopters that autonomously execute preprogrammed formations. Many experts who were initially invited to collaborate on this project decided to take a pass on the opportunity. However, in September 2012 at the Linzer Klangwolke, a multimedia extravaganza spanning the Danube, a group of 50 illuminated drones ascended to form a huge eye in the night sky. Following this, in conjunction with the promotional campaign preceding the premiere of Star Trek Into Darkness, Paramount booked the Linz-based drone swarm to perform at Londons Tower Bridge. Then followed airborne performances in

RECORD BREAKERS

Pics: Courtesy of Intel

Bergen, Norway at the International Bergen Festival, 2013; Ljubljana, Slovenia at the Ljubljana Festival, 2013; Umea, Sweden at the official opening celebration of the 2014 European Capital of Culture; and finally Linz, Austria at the 2015 Eurovision Song Contest. In autumn 2014, the Futurelab team was approached by Intel for an idea they called Drone 100. From here, in pursuit of a world record in November 2015, following years of R&D work and appearances in cities that resulted in global media coverage, the team effort to put a totally autonomous group of 100 drones aloft was crowned with success on 4 November, 2015. An on-site adjudicator from the Guinness World Records made it official that Intel in collaboration with Ars Electronica Futurelab now hold

the world record in the category Most Unmanned Aerial Vehicles (UAVs) Airborne Simultaneously. Drone 100 was a crazy idea that came out of a hallway conversation inside Intel, and now it is a reality, said Anil Nanduri, GM of New Markets, Perceptual Computing, Intel. Working with Ars Electronica Futurelab, we were able to create a formation of 100 UAVs in the sky, creating amazing images and ending with the Intel logo. One rarely experiences moments in which it becomes crystal clear how important and rewarding it can be to defy all the naysayers, to steadfastly pursue a vision and to work unwaveringly for years to bring it to fruition, concluded Horst Hrtner, director of the Ars Electronica Futurelab. www.aec.at

048 DETAILS

[spotlight]

In October 2015, in cooperation with the City of Stockholm, F Lighting conducted a lighting event in the Norra Djurgrdsta-den area, also known as Stockholm Royal Seaport. The event came about as a result of the City of Stockholm winning a free lighting design proposal in a contest organised by F Lighting in late 2014. Devised to raise public awareness of the importance of light

and lighting design, the Win a Lighting Makeover contest formed part of the official programme for the UNESCO International Year of Light 2015. In its winning proposal, the City of Stockholm nominated two historic gas holders in the Royal Seaport area. Here, extensive urban development is taking place, with plans for 12,000 new homes, 35,000 new work spaces, infrastructure,

Pic: Lennart Johansson

amenities, and facilities for arts and culture. Having discussed various options and lighting scenarios, the parties decided to organise a lighting event where members of the general public would help create temporary installations, in cooperation with professional lighting designers and a photographer. In this way, the group of 130 volunteers would experience the transformative power of lighting design first hand. The lighting scenarios were documented with long expose photography and shared with the general public. Using powerful hand held LED torches, filters and a so-called pixel stick, four dramatic and playful lighting scenarios were created, transforming the usually dark historic industrial area for the evening.Im delighted with the results. We created art together, said Kai Piippo, Head of Design at F Lighting. Using light, we man-aged to bring out the soul and the architec-tural character of these fascinating sites.People love seeing these spectacular build-ings up close. When we invited the public to register online for the event, it was fully booked almost immediately, concluded Staffan Lorentz, Head of Development of Stockholm Royal Seaport. www.af-lighting.com

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13-18. 3. 2016 | FRANKFURT AM MAIN

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[briefing]Having recently been awarded the PLDR Best Newcomer award Kerem Asfuroglu talks to mondo*arc about his inspiration and his work as both a lighting designer and graphic novelist.

How did you get into lighting design?Curiosity. Anyone who is keen on understanding the ways of altering perception will eventually find themselves exploring the alchemy of light and shadow.

Why did you join Speirs + Major?Passion. I became familiar with Speirs + Majors work while studying my masters course at Wismar University. I was only a student when I first saw my future directors Mark, Keith and Jonathan present together at PLDC, Berlin. Clearly the quality of their work was outstanding but that was not what got to me it was their explosive energy and passion. I said to myself, I want to work with these guys. Its been five years and Im still a happy member of this family.

What do you enjoy most about your job?Storytelling and creative freedom. I love stories - who doesnt? If you think about it, we have massive film and music industries that are built on this. From way back in the distant past when we gathered around the fire to shelter from the dark of the unknown, stories have spoken to us, cutting across social and cultural differences. As lighting designers we get to tell stories of people and places using brightness and darkness. Playing with such an ethereal medium while creating a physical manifestation and a visceral effect is something that still blows my mind sometimes. You may have the courage and talent to tell a good story yet lack the freedom to speak. That comes with working with the right people and for the right people. That said we must also be mindful that there are limits to what we can convey with light, just like light itself has a limit in its speed. After all, what does a rainbow mean to a blind person?

Whats a favourite project youve worked on up to now?Light Echoes. I have been lucky enough to work on many fantastic projects of varying scales while I have been at Speirs + Major - from Covent Gardens site-wide lighting improvement through to Shakespeares New Place in Stratford Upon Avon. Often though, I find that the real champions are the tiny projects - the ones that no one has ever heard of. In 2013, a group from Speirs + Major worked on a temporary light installation for Canning Towns Light Night. It was an interactive sound and light piece composed of a ring of nine tom-tom drums. We located these drums under

the A13 flyover where we had the luxury of finding a pocket of well-preserved urban darkness to play with. Light was projected through the water filled drums. When they were played, the water in each drum was agitated, producing pulsating patterns of light on the underside of the flyover.

You were recently awarded the PLDR Best Newcomer award. How pleased were you about this?Over the moon. It is great to be recognised for something I consider to be a compulsive disorder that I am wired with. The list of people to thank for getting me there is far too long. There is a sense of overwhelming contentment when people appreciate you for being you.

You are also a very talented graphic artist. How did this develop?Comics and films. I read a shit load of comics when I was a kid. They took me to an alternative reality where things were less lucid. This is what happens when you are brought to see The Terminator at the age of three by your Grandma, who is the craziest artist Ive ever known. I still get

inspired by her flaming passion for creativity.

Your artwork has been published in mondo*arc and it was used for the 2015 darc awards. How good is it

to see your work published?Fantastic. Comics are like a type of meditation for me, they provide a place for my imagination

to run riot. Ive been amazed at how supportive people have been about the crazy decision of mondo*arc to include two pages of

comics in the magazine. Boldness of the magazine has given me a chance to communicate my influences to people. Good or bad, people have

an opinion about it. This is what I love about art. Its approachable but viral.

So lighting designer or graphic novelist? Whats the future?Unknown. I really enjoy my job but I also get most of my inspiration from things outside of

the lighting world - from science, art and literature, to music and comics. I cant

help but think that the moment you put a title on yourself, you potentially close off interesting and exciting new avenues. Regardless of how I express my view, I hope that Ill constantly be exploring the issues that move me.

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[snapshot]Established in 2008 by Korhan iman, PLANLUX is an Istanbul-based independent architectural lighting design studio with a backround of interior architecture and environmental design. It consists of independent lighting design professionals who put smart and practical approaches, combined with architectural creativity, to practice.

HILTONSA ANKARAANKARA, TURKEYSituated in the main business district, the Ankara, HiltonSA hotel has been a central and cultural point for the visitors and residents of Ankara for nearly twenty years. In 2012, the investor decided to renovate the building, in order to update the interior atmosphere and style to cope with other new developed high level hotels in Ankara. PLANLUX believe that, with an affordable budget, it helps transform the design without losing the spirit of the place, considering sustainability and the use of local sources.From the main enterance, the lobby welcomes guests with semi-permeable spaces. The main space has a great height, defined by wooden slats, where the light levels vary during the day because of

THE MARMARA TAKSIM ISTANBUL, TURKEYThe Marmara Taksim hotel is at the centre of business, shopping, theatre and entertainment districts, in Istanbul, Taksim Square. After being a landmark for nearly 40 years, it has reopened its doors after a dazzling renovation in 2012. It carries the signature of interior designer Dan Kwan and gives a modern flare to traditional Turkish art and culture. This project was the first example of how lighting design can enchance the design quality of the brand and built environment for the client stanbul Turzim A.. Its eyecatching entrance and lobby reflects the vibrant colours of Ottoman Kaftans into every aspect of the hotel. While the red ambience of the entrance and the Lobby

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direct natural light coming from above. In addition, looking north, the big glass faade of the entrance is covered with wooden slats in order to minimise daytime glare balanced with backlighting. It features an adaptive artifical lighting design with custom-designed luminaires with strong glare control, creating visual quality and comfort all day and night. An effective and adaptive light control system helps to create the moods. Certain definitions needed to be created, with soft transitions from space to space, where the guests have a great angle and depth of view in all areas.Suspended in the space, sparkling luminaires give charm to the entrance, supported with trackspots to balance the aerial atmosphere.

The reception desk reflects the quality of the design with a definition, differentiated with contrasted graph-cut panels in the backround, maintaining balance.The Lotus bar reflects the mood of comfort for 24 hours. Corridors surrounding the main space the ending has also been defined by bookshelves - reading and comfortable seating additional to circulation. The main restaurant, which has a history of Turkish cusine for Ankara, was also renovated. Backlit columns create a depth perceived from the enterance lobby with a definition of servants.The rooms lighting details supports the regulations for the Hilton standards while creating a better atmosphere and visual confort than the old version for the guests.

evokes warm feelings of passion, love and desire, it also highlights its formal sleek and chic black look. The custom designed chandelier defines the main lobby and creates a vertical depth with combining the lobby in the upstairs to the entrance on the ground level with its crystal sparkles. The symmetry created is supported with the lighting details.Private dining rooms are surrounded by wine racks to give a feeling of elegant linear lighting as well as custom wood details in the details of the wine. This wine cabinets that appear in the lobby is quite stylish and feeling inspires people to examine the wine. In a sense, going on a lighted surface has defined the limits of the lobby.

DOU AUTOMATIVE TECHNOLOGY CENTREISTANBUL, TURKEYThe office building of the Dou Group Automotive, designed by Midek / ERA architects, was recently completed. The building, including IT departments and data centres, is located on TEM highway, in Gebze, stanbul - where urban developments have gradually increased in recent years. The structure celebrates transparency, uniting white collars with daylight in a pleasant experience. The smart architectural design of the faade and the

BEYMEN BLENDER ISTINYEPARKISTANBUL, TURKEYBeymen Blender is a renovation project at stinyePark - one of the biggest shopping malls of Istanbul. Spread over three storeys, the renovation includes the first floor, which is divided into three phases. PLANLUXs task was to create a lighting concept and prepare the mall for opening in less than a month. Although the project has been developed under budget and time constraints, it met customer demands on time. PLANLUX had no opportunities to conduct a fine tuning before the store opening, therefore lighting was rather homogenous throughout the store. During the fine tuning, task lighting was the main aim, so accent lighting was increased. This establishes the importance of the products

PLANLUX FOUNDER & PRINCIPAL: Korhan iman, IALD SENIOR DESIGNER: Baak Okay PROJECT DESIGNER: Grkem Engin JUNIOR PROJECT DESIGNERS: Aysu Zerenolu, Sena am and Aysel Keeli HEADQUARTERS: Istanbul ESTABLISHED: 2008 CURRENT PROJECTS: MAIDIN Ofis Project, Ankara; Nidakule Ataehir Bati Ofis Project, Istanbul; TAO Ofis Project,Istanbul; Nidapark Seyrantepe, Istanbul; Vadistanbul Bulvar Project, Istanbul; Hilton Izmir, Izmir; inili Hamam Zeyrek,Istanbul; Hilton Garden Inn Hotel Umraniye, Istanbul; MACFit, across Turkey. APPROACH: The team searches and studies architectural details of projects in depth, using light and shade to create unique atmospheres. During this process, they strongly consider sustainability, bridging the gap between designers, engineers, manufacturers and the clients.www.planlux.net

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through contrast effects and highlights shelves, whilst leading customers directly to the merchandise. The spotlights through the aisles have been removed to increase contrast. Suggested by the interior design concept, the renovated area is separated from the old one, using fake beams on the ceiling. These are made by 1.5mm metal sheet, including a detail to attach flexible LED lighting with linear profile and frosted plexiglass, which indirectly illuminate the white painted inner surface of the sheet. As a result, an illuminated ceiling has been created throughout the whole new area, providing a feeling of outdoor shopping.A track system, located between the linear lights on the ceiling, was applied higher

than the linear light to provide cut off and to avoid glare while shopping. To futher avoid glare, honeycomb louvres have been used on each spotlight. The interior design of the renovation features brighter colours and materials, so decreasing the brightness was a challenge. Shelves in front of the walls are illuminated by the same track system but with antiglare flaps, aiming to prevent dust gathering on the wall. Energy efficient LED technology (37W, Ra>90, 3,000K, 2953lm) was chosen for the spotlights. Generally 24D was used but on the wall side, 10D reflectors were used. Vertical surfaces above the shelves are illuminated by using concealed high output fluorescent light from the view of customer.

interior lighting details empower the feeling of transparency in all directions. Looking through office areas from the entrance showcases the transparent architecture and defined boundaries.During night time, the concrete structure is melted by the occupancy lighting, so the design itself allows viewers from outside to interact with the interior spaces. The entrance lobby has a high ceiling, equipped with narrow beam metal halide track spots and colour-changing large scale circular

pendants, all positioned in a symmetrical pattern like the building itself.In the corridors, the general lighting has been integrated with the mechanical and electrical equipment, to the mesh box located on the ceiling.The direct and indirect pendants used in the open office areas satisfy ergonomic and efficiency needs with their adjustability to changes in natural light - thanks to DALI-based programmable dimming abilities, suited to the needs of the office users.

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Pic: Courtesy of Atelier Bow Wow

Founders of Atelier Bow Wow Yoshi Tsukamoto (left) and Momoyo Kajima (right).

Last summer, as part of the iGuzzini and MAXXI Architecture collaborative project Light On, Yoshi Tsukamoto, founding partner of Tokyo-based architecture studio Atelier Bow Wow, discussed his

design principles in the context of light. mondo*arc caught up with Tsukamoto to discover the inner workings of his process, applications of behaviourology and the beauty of vernacular architecture.

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In the summer of 2015, iGuzzini and MAXXI Architecture - Italys museum of contemporary art - collaborated on a new project entitled Light On. The project consisted of talks from four major international architectural firms, including discussions of their work and the topics, themes and contexts defining their professional careers. Each designer offered a contemporary point of view on the relationship between form, technology and light. The second event saw the exhibition of Yoshiharu Tsukamoto, founding partner of Japanese studio Atelier Bow Wow. In a conversation with Adolfo Guzzini, President of iGuzzini illuminazione, and Pippo Ciorra, Senior curator MAXXI Architettura, Tsukamoto presented the studios projects and explained the inspirations behind each in the context of light.Atelier Bow-Wow is a Tokyo-based architecture firm, founded in 1992 by Tsukamoto and Momoyo Kajima. Born in 1965, Tsukamoto studied architecture at Tokyo Institute of Technology and then on to Paris, at LEcole dArchitecture

de Belleville. Following this, in 2000, Tsukamoto became an Associate Professor at the Tokyo Institute of Technology. Born in Tokyo in 1969, Kaijima studied at Faculty of Domestic Science at Japan Womens University and at Tokyo Institute of Technology. She also studied at Eidgenssische Technische Hochschule Zrich (ETH). By 2009 she became an Associate Professor at the Art and Design School of the University of Tsukuba.Atelier Bow Wow distinguishes itself from the most prestigious Japanese studies thanks to the duos investigative work of behaviourology. It is Tokyos environment and architectural landscape that characterises its research - an investigation of micro-architectures that tries to give logical rules to the urban complexity of modern cities. Having published Tsukamotos investigations in Made in Tokyo and Pet Architecture, the studio focuses on the role of architecture in the 21st century, attempting to apply principles of its research drawn from existing examples and altering them to create a new reality.Faced with the evergrowing population of

Japans core metropolis, the main focus of its priniciples is centred around the use of space, its sharing and employment. For example in residential buildings such as the studios office / living space, partitions are often removed to create a continuous but organised space, where stairs and landings are used to emphasise the continuity. Instead of making a strong partition between rooms we use the sense of occupancy to give a subtle articulation in the continuous space, explains Tsukamoto. So as you walk around you encounter different types of occupancy. This is interesting because it means we need the help of the users to achieve our intentions. The studios anthropological approach looks to create architecture without architect but with people, known as vernacular architecture. In the context of lighting, the studios work makes reference to Junichiro Tanizakis revered book In praise of Shadows, which describes the western world in favour of dazzling lights, and the east traditionally in favour of shade and shadow in interiors. Using this, its work looks to find the balance

ATELIER BOW WOW:

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between the traditional and the ultra modern based on how people, material and weather behave. After studying these behaviours, all considerations are integrated into one physical entity, creating architecture that reflects the people it is designed for.Tsukamoto attributes what he calls a failure of Twentieth century architecture to viewing groups of people as mass numbers rather than individuals. Twentieth century architecture became a very visual art when it should be both very beautiful and have delightful behaviour, says Tsukamoto. With this in mind, he has reintroduced vernacular architecture in his home city. Tokyo is a metropolis of houses so it speaks to its surroundings, acting as a point of contact between inhabitant and environment an ideal

setting for vernacular architecture and the implementation of behaviourology. He believes that all skills and behaviours are important to observe in order to give identity to particular groups of people. It is within the study of human behaviours that the power of light becomes apparent. Light is a very important agent based on its natural discipline, states Tsukamoto. His idea of space interrelates the behaviours of both humans and objects. Therefore light is investigated as one act of behaviour, as our behaviour is influenced by lighting conditions.During an interview with mondo*arc, Tsukamoto told us first hand about his experiences and inspirations, discussing the importance, impact and use of light in architecture. He considers light as the central natural element that behaves in and

Pics on Top Row: Courtesy of iGuzzini

Pics: Courtesy of Atelier Bow Wow

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Top Row Yoshi Tsukamoto presents his ideologies at last summers iGuzzini Light On conference, including a lecture and student workshop. Middle Left and Right Atelier Bow Wows Tokyo multipurpose work / living space is a testament to the studios design ethos, with the focus on how its inhabitants behaviour interacts with environment.Left Slotted within a narrow street in Tokyo, the external profile of the studio shows how every inch of its design has a purpose.

around architecture. From this behaviourial point of view, lighting can become other natural elements in architectural design, even if it is artificially created.His approach to lighting is appreciative of the way it behaves as well as its practical function. Tsukamoto explains: Of course its important to light the space and its objects with an appropriate amount of light, but beside these functional concerns, the behaviours of light, such as reflection, creating shadow, projection and so on, are very interesting to my design process in architecture.He argues that light has its own behaviour based on the physical principle itself. More importantly, it is the fact that you cant change the physical principle that makes it exciting to play with the behaviour of light through architecture. From this, Tsukamoto

explains: you can make light tangible through architectural design.As with many things in architecture, light and shadow are two sides of the same coin, with the latter being another element that behaves in and around architecture. Produced by the interaction between light and architecture, shadow and darkness are the powerful means that create a heterogeneous condition in the space; also providing a means to give depth to facade.When asked about Tokyo and the role of light in cities in general, Tsukamoto passionately described light as something that moves. Sometimes it appears and sometimes it disappears. It gives the sense of movement and rhythm of a city.Atelier Bow Wows work is incredibly diverse, ranging from an outdoor canal swimmers club in Bruges, Belgium to the

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Izu Book Caf in Shizuoka, Japan and the Four Boxes Gallery in Skive, Denmark. Two very different but very interesting examples of its work the BMW Guggenheim Lab and the Kitamoto Station Plaza showcase how lighting complements architecture to produce social environments that understand human behaviour. When asked to explain the lighting of the BMW Guggenheim lab in Mumbai, Tsukamoto says: The lighting was incorporated in a theatrical manner. The part urban think tank, part community centre and public gathering space, travelled globally to inspire new ways of thinking about urban life. During the six weeks of its Mumbai

presentation, the third stop on the projects global tour, organised in collaboration with the Dr Bhau Daji Lad Museum, the Lab offered 165 free programs over 29 days, including design projects, surveys, tours, talks, workshops, and film screenings. The central location of the Lab was on the grounds of the museum in Mumbais Byculla neighbourhood, making it available to a wide range of audiences and communities. This is a perfect example of how Atelier Bow Wows principles can apply universally, even to external, semi-permanent architecture, creating an interactive space where lighting plays a crucial role. At the Kitamoto Station Plaza in Saitama,

Japan, the lighting was limited as much as possible to make pedestrians as visible as possible for drivers. With this in mind, very small but powerful downlights were set in the ceiling, lining along the edge of the pavement, says Tsukamoto. Combined with uplights set into the pavement, illuminating the ceiling that is finished by locally sourced wooden planks. In doing this, reflection from the ceiling is coloured by the light, taking on the wooden colour. In summary, for Tsukamoto light is very important since it is the central element investigated in behaviourology. This is apparent in all of his work, which plays on the diverse condition of light - sometimes


Lighting is incorporated in a theatrical manner at the BMW Guggenheim Lab in Mumbai - part urban think tank, part community centre and public gathering space.

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bright, sometimes dark - to create conditions for people that suit different behaviours, creating a collision between the shadows of traditional Japanese interiors and the artificial light of the modern age.Noticing that human behaviour can be influenced by natural behaviour - for example, when shadow in the summer gathers people together Tsukamoto believes the same influence can be implemented with light in architecture. His designs look to create spaces that become a more complex place of experience, with


an interest in light and its interactions with other agents. Although, traditionally, Tsukamotos cultural background doesnt pay much attention to lighting buildings at night, (until neon light arrived from USA, when places like Tokyo became flooded by neon) people are now beginning to light rooms the western way with spotlights, for example. However, he still argues that there isnt enough atmospheric light and that strong lighting isnt necessary everywhere. For example in Norway, they have abolished the subject of

This Spread Small but powerful downlights are set into the ceiling at Kitamoto Station Plaza in Saitama, Japan to illuminate the pedestrian area as much as possible without impairing drivers vision.

lighting streets, highlighting the importance of shadow.Yoshi Tsukamoto and Atelier Bow Wow offer an approach that creates a meaningful environment to live in a place to share that creates social interaction between its inhabitants. The studios philosophy appreciates the fact that behaviours and their natural discipline cant be changed. With this, it prioritises the shareable aspect of behaviour as a very important resource in architectural design, creating a synthesis between the behaviour of such things as

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light and the behaviour of people to result in un-institutionalised space. Put simply: The idea of behaviourology can apply everywhere, it isnt specific to any culture or country but is a universal principle / school of thought that can be utilised in all areas of architecture, concludes Tsukamoto.www.bow-wow.jp

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Winner of four Olivier awards and two Tonys, Paule Constable is a lighting designer who needs no introduction. With work spanning a broad catalogue of opera and theatre productions, her stripped back approach to lighting design has earned global recognition. mondo*arc caught up with Constable, after a showing of The Curious Incident of the Dog in the Night-Time, to talk about light and its ability to adapt.

PAULE CONSTABLE:A HEIGHTENED REALITY

Pic: Lulu Ladd

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Growing up in a military family, lighting designer Paule Constable has moved around all of her life. The need to make friends quickly and the peripatetic nature of this lifestyle made theatre attractive to her. Although it may seem like a somewhat unlikely correlation, Constable explains: Its amazing how many military kids gravitate towards theatre. Like many young and brilliant minds, Constable studied an eclectic mix of arts and science subjects through school, culminating in A-levels in Maths, Physics, English and History of Art. I didnt know what to do next. Originally I was considering architecture, then I thought about engineering but in the end I decided to do an English degree, says Constable. The English degree in question she pursued at Goldsmiths College in London, which at the time - in the mid 80s - was a hub of

creativity, producing the likes of Damian Hirst, under the guidance of Dean Richard Hoggart. Invigorated by the artistic essence of the institution, Constable changed after a year to a combined English and Drama course because ...it was just a better course for me, she explains. During her studies Constable went through the motions of wanting to become an academic or a director. However, during a real-life piece of theatre, her flatmate - a stage manager at the time - fell madly in love and ran away to Spain. Seizing the opportunity, Constable pretended to be her, took her job as a follow spot operator and turned up at the Hackney Empire to announce Ive no idea what Im doing.After doing a lot of climbing when she was younger and having never been frightened of heights, she was immediately happy amongst theatres stage rigging and

equipment. Constable explained: Because of A-level Physics I could rewire stuff and I loved the creative aspects of lighting. It discovered me really. I worked in the music industry for a few years, then experimental theatre and devised theatre. I simply followed my nose. In that time, academic study of lighting was rare and the route into the industry came from people who were working as electricians. Learning on the job, Constable followed the advice of a couple of key designers who mentored her. After being in the industry for a short time, she realised that it wasnt just the technology that interested her but also the storytelling of lighting. I already had an academic strand to my life with an English degree and a love for literature, as well as a very practical strand and I didnt want to do something that was purely one or the other. It was at

Pics: Brinkhoff Mgenberg

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this point that she realised design was the missing piece to her puzzle. When asked about her influences along her journey to success as a lighting designer, Constable responds: Through learning, there have been people who have been very influential to me. Through looking at other peoples work and realising it was different, particular and special. More specifically, she cites Germanys Wolfgang Goebbel, who created a very different aesthetic to anybody on the UK stage, as well as Jean Kalman from France. These people, along with many others, made Constable realise that light could be more; it didnt have to be purely functional.In her own projects, she worked with a lighting designer in the UK called Stevie Whitson who was very experimental after coming from La Mama theatre in New York. I worked with him and helped him

out a lot. He was completely anarchic and brilliant. He made you believe that light could do anything, she explains. In addition, Constable draws inspiration from cross-discipline sources, finding reference material that unlocks her creative vision in sources such as American photographer Gregory Crewdson. He uses light in a very particular way, it is so resonant.Lighting is a very diverse medium, from theatre to architecture it can be manipulated to impressive effect. Constable attributes its creative value to the feeling that there is something about working in a landscape that is not necessarily understood, seen or overt. Something about the subversive nature of it. Its not concrete and not right or wrong; it is incredibly lyrical but also literal. Its so many contrasting things.

Left LED pixels interact with Matthew Trevannion in The Curious Incident of the Dog in the Night-Time. Middle James Backway is bathed in an ambient glow in War Horse. RIght Light and costume intertwine in Wonder.land.

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As a great lover of the outdoors and, more specifically, an obsessive fell runner, Constables appreciation for light and the way it interacts with landscape, people and space runs deep. Even if youre working in a tiny space, you have to find a sense of why light is there; working in a medium that is never entirely finished, it is entirely illusive, she adds.This philosophy runs through into her lighting of theatre. For example, shows such as The Curious Incident of the Dog in the Night-Time doesnt use traditional scenery to tell the story, but instead uses gesture and lighting to create the impression of a room with nothing. Based on long collaborative relationships between the team behind the show, the result is a spectacular display of light, sound and interaction. We began with a floor of LED pixels in a grid. We wanted to make it an experience for the audience, a journey they went on with Christopher the lead character, explains Constable. With the focus on stimulating the audience and to reflect Christophers state of mind, the team looked at how the space would respond. Therefore, allowing the stage to become the inside of his head. Based on the protagonists immaculate attention to detail and fascination with his surroundings, the team thought he would love technical theatre, lights and equipment. With this in mind, they came up with the idea of a square and then Constable created the idea of having a pixel grid of LEDs and RGB light boxes, which are used to represent objects throughout the performance. I wanted to reflect the same above him, to create Christophers world, his machine. You feel as if you are creating the show with him, creating an immersive experience for the audience. As a member of the audience you understand the rules of the space within the first ten minutes. There is a collective sense that you are going to share something with the actors. This is achieved, in the most part, by a stage brought to life through intelligent lighting and the diversity of LEDs. When we first started making Curious Incident, LEDs would flash on and the story would get lost as it felt as if the

Drama and expression in opera Die Meistersinger is exentuated by Constables naturalistic lighting scheme.

Die Meistersinger von Nrnberg, 2011 Glyndebourne Productions Ltd. Photo: Alastair Muir

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lights were doing something to him rather than with him. We had to make sure that it felt like he was making it happen - a brilliant conversation between mediums, comments Constable.Her commercially successful shows such as The Curious Incident, War horse and Wonder.land, which travel the world or appear on Broadway, obviously attract the most media attention. However, Constables favourite show of last year was a production of Wozzeck the opera in Chicago. It was a piece Id never done before; based on an 18th century German play by Buchner, written by Berg as a response to the First World War. Incredibly modern, short and episodic, its really angry. We did a stripped back version of it designed by Vicki

Mortimer a close friend and colleague of mine and directed by Sir David McVicar - someone I have worked with for 20 years. The coming together of the piece, the creative team, the cast and the space made for a great production. All in white, it was hard, brutal and really stripped back. At first I never thought it was going to work but in the end we got close to something that really landed with the music, says Constable.When comparing theatrical lighting and architectural lighting, the link may seem unrelated. However, Constable believes that the understanding of light and its application is universal. Citing the work of Speirs + Major, she says: Ive always really loved their work because its story driven.

Die Entfhrung, another opera, showcases Constables ability to transform a stage into a realistic landscape with selective, organic lighting.

I love their relationship to landscape and talking to them, I was fascinated to see how similar their thinking was to mine. I look at architectural lighting design, particularly in interiors - it can be quite functional or it can be quite transcendent. Their work for me feels like it wants to do both things. You go into their spaces and you feel different your senses wake up. The area that people such as Olafur Eliasson and James Turrell are exploring is absolutely the area that concerns me. Then there are people who objectify light like Dan Flavin even though his work is still about colour balance. I think this is true with architectural work, you can see there are places where people are really telling a story with a space or places that

Die Entfhrung aus dem Serail, 2015 Glyndebourne Productions Ltd. Photo: Richard Hubert Smith

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A new concept in LED filter design Regular lighting fi lter can often quickly fade when used with LED lights the Zircon range is different. With a lifespan of up to 200 times longer than standard fi lters and at more than double the thickness (180 microns), Zircon fi lters are not only slower to fade, they are durable and easy to use, too.

The four Warm Amber fi lters correct a range of different colour temperature white LEDs giving them a warmer feel. While the three Diffusion fi lters offer different strengths of diffusion specifi cally designed for LEDs.

LONGER LIFE FILTERS FOR LED

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are rudimentary and functional. Similarly in theatre, say with musicals, the lighting often has to create rhythm and shift the space in a very overt way - not working from the inside but imposing an agenda on a moment. This to me is objectified lighting - it has a strong external hand. As in offices,when it needs to be functional, comparedwith places that need to be stimulating.The road to success is often described asa bumpy one and Constables has beenno different. Being female and havingchildren has been tough. The weird thingabout lighting is that people can use theidea of technology as a weapon againstyou. Being an electrician, my technical

knowledge was quite good. But now things change very quickly. I use the technology to be creative but I cant talk to you about the technical minutiae of how we manage data in say Curious Incident. It is about learning that you dont have to be able to do everything. Originally, I would hang my own lights and do my own programming. That can be a problem for young people to come into the business, she explains. Constable went on to describe a brief encounter with the V&A museum that opened her eyes to how light can be interpreted in space. One thing I think is interesting about architectural lighting design, I discovered during a brief

encounter with the museum. They were scared by the way I think about light. I wasnt thinking about lumens, functions, labels and walls. I was thinking about light as a dynamic, story-telling thing. I realised that I was the wrong person for them to be talking to. With my work, I can start with nothing but I dont think in architectural work anyone can really do that. I dont think of myself as much of lighting designer, as someone who works with darkness. That is a very different discipline.Aside from ups and downs, Constable has received four Olivier and two Tony awards for her work in lighting. Within an industry that is male dominated, achieving this level

The cast of The Curious Incident watch with wonderment as they exist within an LED Cube - Christophers working brain.

Pic: Brinkhoff Mgenberg

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of public recognition has been a highlight in her professional career. I am the only female senior lighting designer in this country who has global recognition - partly because I do a lot of opera. In a world where role models are really important, winning awards is great to prove to people that it is possible. In terms of gender balance within my own teams, most of my favourite programmers are women. They tend to have a very level head in that particular role. Being in a position to champion them is really important, she explains. Constable pinpoints the beginning of her journey to success to a pivotal moment

when she became the first woman to light a show at The National Theatre in 1993. That is pretty shameful but I suppose that was the start of a big journey for me as Im an associate director there now, she says. Another significant moment in her career has a very heart-warming story behind it. When working at the English National Opera, after just winning an Olivier award, the stage manager told her that she must bring it in the following week. On Monday, much to the managers surprise, the award was nowhere to be seen. Where is it? they said. It went to show and tell with my kids, says Constable. They are nineteen and seventeen now but back then they must

not have known what the bust of Olivier even meant.Her success and recognition within the industry is often attributed to her unique process, which tends to be simple and stripped back. Its kind of Amish, explains Constable. With a simple, clear and honest approach, the focus remains on the right idea, light, the right moment to not feel obliged to do everything and the right moment to release a particular story. My work doesnt use a lot of saturated colour but Im really interested in height and naturalism ideas that come from a reality. I like stripping back to a truth and then heightening that, states Constable.

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What is apparent through lighting, whether it is theatrical or architectural, is that lighting designers share the same foundation of skills. These shape how people experience, perceive, feel and immerse themselves in space. There are so many ways to experience space and that becomes the common ground between all lighting designers. Learning to look is the secret we share. The public dont obviously always notice or perceive light. I was recently in terminal five at Heathrow, when my plane was delayed. I walked through the subway and the way the LEDs

are used is really beautifully put together. You walk through the tunnel and you feel like youre in a Sci-Fi movie - it is alive. It has been done thoughtfully without feeling suppressive. Even a small detail like that, you do it properly and it can make peoples travelling more enjoyable.Whether it is in theatre, architecture or any other environment, this anecdote encapsulates what designing with light can create. Just like in Heathrows terminal five, with thoughtful design, even simplistic lighting can deliver a grand impact. www.pauleconstable.com

Projects that youd like to change: The amazing thing about theatre and opera is that they are here for a moment and then gone. My projects rarely haunt me as most of them only last a short time. The ones that are around for a while like The Curious Incident or War horse I get to revisit and improve. So there are things I have done that havent worked but I dont have to live with the repercussions in the same way you would have to with something architectural.

Projects you admire: One of the most inspiring bits of stage work I ever saw was Jennifer Tiptons Necessary Weather - a dance piece performed with just movement and light - no sound at all. It was mesmeric and beautiful in a way her work often is. Jim Ingalls lighting - particularly his work with Mark Morris and also Theodora at Glyndebourne.

Projects you dislike: Wonder.land at the National Theatre is one of the hardest things I have done in a long time. I wouldnt say I dislike it - but I found it really tough and in the end I dont think I solved it. The entire show takes place in front of a massive projection screen. Trying to shape and articulate space with that amount of ambient light around is infuriating and exhausting. Its like trying to light a show with the working lights on. In that direction madness lies.

Lighting hero: Jennifer Tipton for theatre, James Turrell and Olafur Eliasson for creating art using the language of light.

Notable projects:The Curious Incident of the Dog in the Night Time and War horse were both small projects for the National theatre that went global and saw creative work enter a commercial arena - both also won me Tony awards. They arent the best things Ive done but they are good, highly collaborative work that have been publicly acknowledged. That makes them notable.

Most memorable project:One of my first shows was a piece called Street of Crocodiles for Theatre de Complicite. It got my work seen and was a beautiful, complex, lyrical piece that taught me so much about story telling. It was the first time that I stuck my head on the block and tried to really make light part of the conversation. It made me a designer.

Current projects:I just had an amazing time making Herons at the Lyric Hammersmith. Often doing shows with less pressure on them can allow you to be really creative. I loved playing with the water and pushing the reflections - and there are very, very few lights. Its a brutal and bold aesthetic that I felt achieved something quite beautiful. It was lovely to do - and I am quite pleased with how it look. Now a community opera called Nothing at Glyndebourne, then Roberto Devereux at the Metropolitan Opera, The Suicide at the National Theatre, some work at the Donmar, at Glyndebourne, at Chichester. Its all pretty varied. And busy!

HIGHLIGHTS

Drew Dillon as Goose in War Horse casts a shadow over the stripped-back stage set-up, accentuated by the visible inner workings of his character prop.

Pic: Brinkhoff Mgenberg

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Pic: Redshift Photography

Custom fluorescent pendants from Aether Lighting use T5 lamps, housed within an acrylic tube for a simple uncluttered aesthetic. Various coloured sleeves and gels were selected by Haworth Tompkins to compliment other elements within the interiors.

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In an effort to bring together world-class artists, emerging talent and the public, London's National Theatre is undergoing extensive refurbishment and remodelling to transform this Grade II listed building. The 80million project, known as NT Future, has created a new scenery art studio, a public viewing gallery as part of the remodelling of the workshops and the new Clore Learning Centre. Additionally, the Cottesloe Theatre has reopened after modernisation as the Dorfman Theatre with an improved foyer. The main foyers and public spaces ofthe National Theatre have also been revitalised with the creation of new bars and cafes on the riverfront, a new bookshop, a new entrance and the landscaping of the public realm and terraces.A previous refurbishment had diluted the drama of architect Denys Lasduns original design for the main foyers. Following on from this, environmental design consultants Atelier Ten developed a new lighting concept, working closely with the theatre and architect Haworth Tompkins, to play with the balance of darkness and light. The lighting design creates a sense of darkness by minimising the spill of light onto the diagrid of concrete coffers, contrasting with focused lighting of specific horizontal and vertical surfaces. To bring warmth to the Brutalist board-marked concrete, a 2,700K colour temperature was selected for all

accent on tables and benches.For mounting on a suspended bar over seating areas to highlight bench tops, a miniature version of the bronze anodised drum was created.Spotlights of varying sizes were created for use throughout the foyers, while a track mounted version was developed for the bookshop, house restaurant and understudy bar. With different finishes to suit the various spaces, these luminaires use 1,000lm Xicato modules, with the driver mounted in a rectangular gear box coupled to the track.For the lighting of the large open areas of the foyer, a 'big brother' version of the spotlight with 2,000lm Xicato modules was used. These were mounted to existing lighting bars using proprietary clamps with remote drivers concealed in existing enclosures.Additionally, to provide grazing uplight to the board-marked concrete, a version of the spotlight was developed for mounting within in-ground boxes beneath the concrete fins. Along with wall-mounted versions, developed with extended arms for lighting of posters and display, a further miniature track-mounted version has been used within the Dorfman foyer to highlight the mesh wall coverings.For the accent of key spaces, and as the theatre's signature luminaire, Aether's fluorescent pendants use T5 lamps, housed

lighting. The design incorporates playful elements of accent using gold reflector cones in luminaires over seating areas and red-sleeved pendants over bars and atrium areas.Atelier Ten worked with Aether Lighting to develop a custom family of luminaires for the project, bringing a sense of unity throughout the new and refurbished spaces. In the main foyer areas, 40 custom luminaires were developed. Of these luminaires, the key family types were drum downlights, spotlights and fluorescent pendants.Mounted within the concrete coffers, the drum downlights have a bronze anodised finish to match the original metalwork used by Lasdun. This family of luminaires was created for various purposes, all using warm 2,700K Xicato LED modules. Firstly, a simple version with a deeply recessed LED and honeycomb louvre was used for circulation areas, with an optic designed to prevent any spill light leaking onto the side of the coffers.In seating areas around the bars and caf, a version with a rich golden reflector was designed so that they could be viewed across the foyer to add an element of sparkle, drawing customers to these areas.A further variant was designed with miniature LED spotlights as outriders around the main cylindrical downlight, concealed high in the coffer and used to provide

BACKSTAGE PASSOutlined by environmental design consultants Atelier Ten, the lighting of London's newly refurbished,

multi-purpose National Theatre has transformed this Grade II listed building into a place of artistry and community. mondo*arc takes an exclusive and detailed look inside to discover the method behind the magic.

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a key aesthetic element.For the replacement of the house lighting within the Dorfman auditorium, GDS ArcSystem fittings were used with 10W LED sources and DMX control. As an essential requirement of the theatre consultants Charcoal Blue, these had the advantage of exceptionally smooth dimming down to zero and were stirrup mounted, directly to the soffit, with remote drivers concealed behind the wall cladding.When it came to the 'found spaces', housing the new caf and bar areas, Atelier Ten created a simple lighting aesthetic to complement the interior design. KKDC Liniglow and TiMi linear LEDs (2,700k) were used extensively for concealed lighting to bar fronts and the back bars and within the refurbished toilets to bring out the colour of the bright red mosaic tiles. As well as this, Liniglow XL was used in the house restaurant, concealed behind the banquette

within an acrylic tube with minimal mounting arrangements, for a simple uncluttered aesthetic. In collaboration, various red and straw coloured sleeves and gels were selected by Haworth Tompkins to complement other elements within the interiors.Vertical versions of the pendant can be found in the triple height atrium spaces of the main foyer and Dorfman foyer, and have been used in groups, mounted to a hoop, to create chandeliers within the Sackler entrance, Main Lytleton foyer and the Cathedral window in the Olivier foyer.Fitted above the bars a

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mondo*arc Febuary/March 2016 - Issue 89