Lighting in Design November-December 2015

11-12/15 www.crown.co.za

Frankfurt am Main 13 – 18.3.2016

Moonlight: winning entry for Haute Lumière 2015

Creative building façades

Dramatic, vibrant, animated lighting of trains

Ed Space

I n his article Orchestral lighting for fun and profit , Gavin Chait outlines how the revolution- ary development of LEDs has opened up fresh approaches to façade lighting. All over the world, media façades have become a major part of the efforts cities make to attract notice to and even ‘brand’ themselves – as Hong Kong has done with its Symphony of Lights (hence the title of this article, I assume). He makes the point that while these façades are sometimes used for the somewhat cynical purpose of directing gaze away from grimy streets or poorly constructed build- ings, they can also be creative and interactive; as is the 3D solid state lighting public art installation at Banco del Crèdito de Peru in Lima. Here, spectators can become participants in the façade artwork by touching and playing with a podium of LED touch screen panels that mimic the façade on a smaller scale, to create lighting effects, such as constellations, rain and fireworks, and thus influence the shows. This interactive and dynamic lighting installation successfully engages urban dwellers and softens the image of the financial corporation. With façade lighting there is always the risk of light pollution and here modern archi- tectural lighting, which allows for subtler designs, has played a positive role, especially in instances where professional architects and lighting designers are involved at the start and able to integrate the façade lighting into a new build rather than attempt to add interesting lighting onto an existing building. It is under these positive circumstances that buildings become useful landmarks or what Chait describes as ‘good citizens’ within the communities in which they are based. Probably neither for fun nor profit although certainly orchestral in impact, were two emotive light sculptures that served as commemorative installations during the course of this year. The Tribute in Light in NewYork and Spectra in London. The Tribute in Light is produced annually next to the site of the World Trade Center in remembrance of the September 11 attacks; while Spectra , a light installation by Japanese artist Ryoji Ikeda, recreated searchlights hunting for planes, to commemorate the 100 th anniversary of the start of World War 1. Given the senseless number of attacks on innocent people that have taken place throughout the world during the course of this year and the number of countries that have to deal with war and violence on a daily basis, I am certain that the emotional impact of those light art pieces affected a great many more people than are still directly impacted by the original events they commemorate. Such is the effect of art and such is the effect of beautiful light. This is the last issue of Lighting in Design for 2015. Thank you, our readers and ad- vertisers, for your support throughout the year. All that remains is for me to join Jenny Warwick, Adel JvR Bothma and the rest of the Crown team in wishing you happy holidays and all best wishes for a busy, successful 2016.

Till next time!

Editor: Karen Grant (crownmag@crown.co.za) Advertising manager: Jenny Warwick (jennyw@crown.co.za) Layout: Adel JvR Bothma - Circulation: Karen Smith Cover: Sandton City; Image supplied by Regent Lighting Solutions

Published by Crown Publications cc PO Box 140, Bedfordview, 2008 - Tel: +27 (0)11 622-4770 Fax: +27 (0)11 615-6108 - Website: www.crown.co.za Printed by: Tandym Print

All issues of Lighting in Design can be viewed on our website. Visit www.lightingindesignmagazine.co.za

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IN side ...

EDspace Editor’s comment.

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Haute Lumière: 2015 Bongisa Msutu asked each of the finalists of the Haute Lumière 2015 Competition four questions to find out what motivated their interest in light and why they created the designs they did. 8 The changing face of mall lighting South Africa has a plethora of new and upgraded shopping malls. Lighting in Design spoke to Randal Wahl of Regent Lighting to find out how lighting can be used to attract clientèle to one mall rather than another. 4 Orchestral lighting for fun and profit Creative building façades have become a major part of efforts by cities around the world to attract notice, brand themselves and capture the idea of ‘urban chic’. Gavin Chait looks at this trend. Rhythms and accents of light The architects of The Club contracted an independent lighting designer for the Steyn City project. Anthony Tischhauser of Pamboukian lightdesign explains the lighting approach taken for this prestigious clubhouse complex.

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Caravaggio-like lighting effects Artist Matthew Penn uses lighting in such a way that not only does the lighting display his art; it also enhances and becomes part of the art itself.

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Oyster Box honours the environment The five-star Oyster Box hotel in Umhlanga, KwaZulu-Natal, recently embarked on an energy efficiency campaign to reduce its electricity usage.

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Products

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The changing face of mall lighting

Driving through just about any city in South Africa one could be forgiven for thinking that without shopping malls the construction industry would be at a loss – new malls are constantly being built and older ones continuously renovated. With so many to choose from, what is it that draws customers to one shopping mall rather than another?

S ince Regent Lighting Solutions has been involved in lighting numerous shopping malls across Southern Africa, and as far afield as Dubai, Lighting in Design asked Randal Wahl what he thought drew people to a mall. He doesn’t claim to know all the answers but is pretty certain that lighting plays a big role. Despite a frequent lament of lack of time, many people are prepared to drive considerable distances to get to a mall of their choice and some will stay there for up to five hours. According to Michael Glimcher, CEO and chairman of Glimcher, a com- mercial real estate company based in Pittsburgh, the mall is a destination offering more than just retail. He says that, “while shopping will always be a primary reason to go to a mall, going to the mall is about the experience,” and being able to join friends for a salad and a glass of wine or take in a movie supplies “the right mix of retail, restaurants and entertainment" [1]. Wahl agrees with this and adds that other advantages of malls include choice, variety, conve- nience and safe parking. In addition, in South Africa particularly, people value natural light and fresh air. But manymalls offer the above advantages – and include wireless connectivity for access to tablets and smartphones – as a matter of course, so what else can property developers do to attract people to their malls? Wahl believes that lighting plays a part. He says that because many people stroll through malls, not necessarily with much purpose other than

to socialise or window shop, interesting lighting can add much to the appeal. “More investment is being allocated to interior lighting to enhance the mall experience. Lighting designers and architects play an important role in selecting the correct luminaires to enhance the architectural features; to create a lighting effect that is appropriate for a specific area; and for specific applications. Lighting has moved from being merely a functional element to becoming more of a design element that gives functionality and, incidentally, it is here that LEDs come into their own.” In general corridor lighting in malls there is a move away from downlighters only. Architects are making more use of natural light and incorporating suspended fittings into the interior design of the structures. Visitors to the mall want an experience when they arrive and here light plays an important part in enhancing the overall effect for shoppers. Back lit translucent stretch ceilings with exciting and eye-catching designs offer functional light but create interesting effects and these are being used more frequently in malls. It is the trend these days, says Wahl, for a fair proportion of the lighting in a mall to be non-obtru- sive i.e., hidden or recessed in cavities so the light can be directed and controlled; thus reducing glare levels and resulting in good uniformity. “Obviously, standard lighting still plays a role, but we prefer to incorporate lighting, such as track lights, in recessed light systems.We have a developed linear and track system that gives designers and engineers the flex-

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Malls are making more use of natural light which, when combined with high end fittings and an effective lighting design, creates an environment that attracts people to the venue.

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Various lighting applications in Sandton: From recessed linear wall mounted with customised recessed trim to the adjustableTiltlux fittings to highlight the domed ceiling features, to Iris lighting elements in planters, to bespoke suspended walkway fittings offering down and uplight.

ibility of an adjustable luminaire to shine light where it is required yet also offers a linear light source for the required functional downward light when lower light levels are needed. Incorporating two types of lighting in a single system is important as, in addi- tion to its flexibility, the system allows for bespoke lighting applications.” Since track lighting is directional, traditional track systems perform best as accent lights; they do not work for lighting up walkways. With Regent’s system it is possible to incorporate the track sys- tem to give general lighting. Specific areas can be highlighted and general areas can be illuminated using a single system that can be interlinked, joined or made into rectangular or L-shapes. Within the system, designers can specify downlighters, linear sources and tilt lights to cre- ate different lighting applications using the same system, which itself can be recessed, suspended or surface mounted. As new shopping malls are built, existing malls upgrade continuously to attract people and keep tenants. For example, the Zone in Rosebank is be-

ing upgraded less than ten years after it was initially designed to attract a new generation of shoppers and tenants for the World Cup and Gautrain Sta- tion. Sandton City precinct in Gauteng is another case in point. The upgrade evolution there started years ago and has been transformational. Regent’s involvement has been consistent – it began with the upgrade of Sandton City, progressed to the rooftop car park and continues with NelsonMandela Square and its surrounding buildings. For the Nelson Mandela Square underground parking, Regent supplied an LED light fitting that offers downlight but also reflects off the ceiling to re- duce the cave effect so common in parking garages. The final effect is a ‘wash’ as well as light onto the concrete ceiling, which is painted white to reflect down, giving an improved lighting effect and greater sense of security. This is further strengthened by different coloured end caps on each level so people can identify where they are in the parking garage. With the new approach to mall lighting, upfront planning for the lighting design is essential. Archi- tects and consultants that have clear briefs can

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Right: Pandora Square Pendant LED luminaires have been used to create stylish, interesting passageway lighting in the BayWest Mall in Port Elizabeth.

achieve world class lighting effects. In instances where ap- plication is important, established lighting manufacturers play a critical role as their design departments can develop luminaires to meet the ever-changing requirements. It is time, however, that is the scare resource in many such opportunities and early intervention plays an important role in the overall effect. “Finally, in most instances the architect or lighting designer working on a mall would like an installation that enhances the shopping experience, is user friendly and ensures repeat visits. However, it is not only the look that is important but also the long term effect of the light- ing, so flexibility and easy maintenance are essential,” concludes Wahl. Reference [1] Smith N., Malls attract shoppers looking for an 'ex- perience', BusinessNewsDaily, May 22, 2013 http:// news.yahoo.com/malls-attract-shoppers-looking-experi- ence-103800996.html accessed 30 October 2015

Right: At the Menlyn Mall Food Court, linear Maxi LEDs, recessed in a continuous frame were supplied in various lengths and staggered at various angles to create a dynamic environment.

Haute Lumière 2015 The Haute Lumière Light Competition, conceived and managed by Pamboukian lightdesign, reflects a need to explore and stimulate debate on light as a design medium. Fashioned and designed environments require imaginative light solutions, which convey meaning, mood, atmosphere and visual appeal. The purpose of the competition is to rethink the application of artificial light as a crucial, primary aspect of design and as an inventive medium that extends beyond the functional requirements of illumination.

T he brief for 2015 was: Create any original light 'object' (single/multiple source) that has an impact on a self-defined interior space. Ex- plore movement in light, texture, mood and task. In asking the question what is light, investigate the expressive qualities of light such as: shadow, contrast, edge, colour and magic.The design will be evaluated on originality and creativity. Avoid clichés! Four finalists were invited to a workshop run by Paul Pamboukian. Each of their designs was ana- lysed and discussed in detail. The designers then set out to rethink, evolve and modify their designs within the context of their extended appreciation of light and it was from the final submissions that a winner was chosen. Bongisa Msutu of Pamboukian lightdesign, who oversaw the entries to the competition asked each of the finalists four questions to find out how they felt about this year’s competition. The questions were: 1. What was your aimwith this design (besides fulfilling the brief)? 2. What did you learn about light through this process? 3. What did you learn about yourself and your own creative process with this competition? 4. What advice would you give future entrants as guidance? Braam deVilliers -WINNER 1. ‘Moonlight’ pays homage to the South African artist BercoWilsenach.Wilsenach’s fascination with celestial objects inspired me 2. Light is emitted, reflected and can travel through mediums. The source (lamp) is always seen as the centre of the light, yet it is only the beginning of the path of light. Light engages with objects that change the nature, quality and direction thereof. 3. Engage constantly with creative people across the spectrum, i.e. artists, scientists, bankers etc. Your idea could be the biggest threat to your concept. Develop multiple concepts. 4. Cross reference! Cross pollinate! Think! Dream! Most importantly, have fun!

Conrad Chicane 1. I wanted to design something unique and un- usual. I wanted to challenge myself mentally and physically. 2. We only notice our surroundings because light exists – without it we wouldn’t see or experi- ence anything. Light has the capacity to alter or manipulate our environment. However, light can be manipulated too, through the use of reflective surfaces, which in turn alter colour temperature and light intensity. 3. I realised I am a lot stronger than I thought men- tally and physically. I had to bend the stainless steel sheet, and do the powder coating and electrical wiring myself. As long as you stick to a concept, and have a reason for what you are doing, you can achieve anything. 4. Have an action plan, stay organised, and maintain a good schedule. Know what you want to achieve with your design. Should you hit a block, change the direction of your design process. Read the brief! Keep it simple! Monique Brown 1. The objective was to manipulate and control the characteristics of gradient light glow by means of pixilation. Breaking form up into its most basic parts and enlarging it until it is unrecognisable. 2. Unlike product design, designing with light requires a far more hands-on approach. Lighting is unpredictable and reliant on so many variables that it is essential not just to design on paper, but to test ideas continually. Lighting is not merely il- lumination; it plays a major role in the atmospheric quality of an environment. 3. Design is infinite and can always be pushed further.This competition taught me the importance of light and its endless possibilities. I discovered how empowering it is being able to take a design from concept phase to creation. 4. Let experiments guide your design. Be open to the new and unexpected results that light can offer.

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Astrid Haarhoff 1. To explore artificial lighting as a medium and ex- plore the way light can be manipulated using one source at different angles. 2. I have learnt that artificial lighting extends beyond the functional requirements of illumination. Every aspect within light can affect artificial lighting, i.e., colour temperature, the housing of illumination, the amount of light seen, the angle of light, etc. All these elements can alter the mood and atmosphere created by light. 3. Through this process I have learnt that I have a passion for light and its applications. The most important part of my creative process is that of concept development. 4. Start with a strong concept and allow that concept to define the artificial light being applied. Have fun with it and explore. Lighting is a whole new world!

Braam de Villiers' 'Moonlight’ Light and Dark reflection.

Pavilion vs light by Conrad Chicane.

Pixel-Lys by Monique Brown.

The winning entry this year was from Braam deVilliers for his submission Moonlight. Braam will attend the Lights in Alingsås workshop in the Swedish town of Alingsås. The Haute Lumi è re competition is sponsored by Pamboukian lightdesign, LED Lighting SA, Regent Lighting Solutions, Lights in Alingsås and SA Fashion Week.

Simplicity by Astrid Haarhoff.

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rchestral lighting

for fun and profit

by Gavin Chait

W andering around Hong Kong at night is like visiting the world of Blade Runner, the 1982 neo-noir science fiction film by Ridley Scott. Thousands of people pack the streets, and immense modern buildings tower up into the sky. Property is so expensive that the only way to make anything anyone can afford is to add levels. You may remember the opening to Blade Runner, as you fly into the city with humongous visual advertising displays flickering on the sides of buildings? That –minus the flying cars – is Hong Kong today. Every evening, tens of thousands gather on the waterfront along the key and look- ing across Victoria Bay. At 8pm, the Symphony of Lights begins; the world’s largest permanent light and sound show. Forty-seven buildings, on both sides of Victo- ria Harbour, participate in the display. Each has wrapped its building in a combination of lasers, searchlights, LEDs and projection lighting. The show itself has five movements: awakening, en- ergy, heritage, partnership and celebration. Laservision, the company behind the Hong Kong Symphony of Light, says that for one of the buildings it wired up – Canon in Kowloon – it used, “6WLED dots, each containing six LEDs, two each in red, blue and green”. Lighting up the entire building required, “A to- tal of 14 rows of LED dots, with 30 dots per row, installed along each of the building’s external ribs. The design solves light trespass and light pollution issues that are problematic in illuminating glass surfaces.”

The fixtures have an expected lifetime of about 75 000 hours, and use about 12.5 kWhr at a cost of about $2.00 an hour. The LED luminaires consume little energy, and the resolution required is not the super-pixel level of a mobile phone. Since people are usually viewing buildings from hundreds of metres away, LED dots can be quite spread out. Similarly, directed lighting reduces stray light, and control systems ensure minimum energy consumption. At these low energy consumption levels, many companies power their façade lighting with solar panels on the roof. “The revolutionary development of LEDs has opened up fresh design approaches for façade lighting. The controllability of the brightness and light colour of LED light sources, together with their diverse optical characteristics, aremaking innovative technical lighting solutions possible. For example, façade lighting can be realised from inside a building thanks to the compact dimensions of LEDs. Rather than flooding façades with light, it is now possible to integrate light sources into the architecture,” says Stefan Hofmann, a lighting designer at Lichtwerke . Started in 2004, with eighteen buildings, the Symphony has become part of Hong Kong’s efforts to present itself as one of the world’s great cities. And, pollution aside (which is fantastic for public lighting displays), Hong Kong can definitely be said to be amongst that milieu. These media façades have become a major part of efforts by cities around the world to attract notice, brand themselves, and capture the idea of ‘urban chic’. Unsurprisingly, some of the world’s fastest growing, but impoverished, cities are taking the lead.

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Tsim ShaTsui waterfront. Image courtesy: Wikipedia.

What better way for cities as diverse as Ahmedabad in India, Lima in Peru, or Shang- hai in China to draw attention away from their grimy, grid-locked streets and cheaply- constructed buildings, than to flood the night sky with music and symphonic light? There are two contexts for designers: integrating façade lighting into a new build, or – with more difficulty – figuring out how to add such lighting to existing buildings. Ahmedabad, one of India’s largest cities – and as I remember it back in 2000, a place that was so polluted it looked as if it had just been nuked – boasts the biggest media façade in In- dia. Ahmedabad is, without any sense of irony, billing itself as the ‘Manchester of the East’.The Mondeal project is an example of the former, where façade lighting has been integrated into the initial construction of the twin tower of ten and twelve storey office buildings connected via a two-storey retail complex. The façade features 3 968 LED lines covering 5 293m 2 . Atelier data, the lighting designers, worked with AHL, an LEDmanufacturer, to cre- ate the custom LED strips.The five-hour shows run eachwork-week evening, and are integrated into the sun-shades so that people working inside the office are not affected by the lighting. In Peru, Banco del Crédito de Peru (BCP), the country's largest and oldest bank, worked with lighting designers Claudia Paz and Nicho- las Cheung. It created an interactive public art installation on the outside of its existing headquarters with Philips Colour Kinetics lighting panels. The installation, BCP Affinity, consists of the main LED canvas, as well as a series of interactive LED podiums with multi-touch sen- sors, along with an interactive lighting control system. Spectators become participants in the artwork by using the panels to influence the interactive shows.

Mondeal Square in Ahmedabad, India. Image courtesy: Blocher Blocher.

Banco del Crédito de Peru (BCP). Image courtesy cosapi.com

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Shuffle Living together in a challenging world

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Not that this is always a good thing. “In Hong Kong these large scale lighting systems have been installed on buildings with seemingly little thought as to what the visual content is. Skyscrapers have been left with what I assume to be the default 'rainbow' test pattern running rather than showing any curatorial or contextual interests,” says Domi- nic Harris, director of Cinimod Studio, which develops façade lighting systems. Hong Kong’s lighting success has resulted in a backlash. 'Lights Out Hong Kong' is a campaign protesting against all this extrane- ous lighting pollution, and first urged people to switch off their lights at 8pm on 8/8/2006 in protest. Donald Tsang, Hong Kong’s chief executive, refused to delay the Symphony of Lights as the campaign would, "give adverse publicity to Hong Kong as an international me- tropolis and a major tourist attraction." Around the world, façade lighting has become a bit like all those flashing glitz and marquee-effects on early ‘90s websites. “Only a few lighting designers exploit the possibility of providing aesthetically elegant, resource-saving lighting that costs relatively little. Poorly planned façade lighting is be- coming an increasingly serious problem that affects the aesthetic appearance of nocturnal landscapes as well as creatures that are active at night, such as insects and migrating birds. Large portions of the deployed light often miss the façade in question and the luminance levels used are often considerably higher than necessary,” says Dr Thomas Posch of the In- ternational Dark Sky Association. And the free-for-all as building owners have looked to create new revenue streams through hosting vast advertising screens has added to the clamour. Many cities, overwhelmed by massed public advertising video displays, have begun to ban new ones. But that doesn’t mean designers aren’t aware of the irritation that pulsing light can have on residents and modern architectural lighting makes it easier to ensure that these criteria are baked in from the beginning. That means designers have had to become subtler.The Media Architecture Biennale does its best to recognise more carefully designed façade lighting. Realities:united, a German firm, took two awards in 2012. It integrated its lighting designs into the overall building concept and planning process, and developed a story-driven context for the lighting. The installation at Kunsthaus

Kunsthaus Graz, Germany. Image courtesy: openbuildings.com

Iluma, Singapore Image courtesy: mondaywanderings.wordpress.com

Tribute in Light, NewYork Image courtesy: metro.co.uk

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Graz is very low resolution, but clads the entire build- ing. Similarly, the company integrated low resolution pixels across Iluma , an entertainment and retail complex in Singapore. What this approach does is turns buildings into iconic displays both during the day and at night, and permits people to orientate themselves in a city through instantaneous recognition. That’s good advertising for the companies or services re- siding within those buildings and harks back to the reasons companies commission cutting-edge architects in the first place. It also means that these buildings become good citi- zens within the communities where they’re based. These sorts of considerations are important, especially where lighting is used for commemorative installations. Two recent memorials were the Tribute in Light , an art installation of 88 searchlights next to the site of the World Trade Center, and Spectra , which lit up the London sky to commemorate the 100 th anniversary since the start of the First World War. Each of them used powerful searchlights to create deeply emotive light sculptures; Tribute in Light recreating the out- lines of the two World Trade Center towers destroyed on 11 September 2001, and Spectra recreating the searchlights hunting for planes flying overhead. Residents across London participated in the memorial by turning out their house-lights or putting black-out material across their windows. In 1914, on the eve of the First World War, UK Foreign Secretary, Sir Edward Grey, said, "The lamps are going out all over Europe; we shall not see them lit again in our lifetime." The end of the war brought stability and peace to Europe, but new technology changed our night sky as well. We lost darkness and the ability to see the stars at the exact moment that our technology permitted us the idea that we might just be able to go visit them. It’s good to know that, even as we play with lighting and design creative building façades, we are also reducing the energy cost and light pollution of our cities so that darkness becomes something to celebrate.

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Rhythms and accents of light

by Anthony Tischhauser, Pamboukian lightdesign

T he first sight of The Club at Steyn City is the lush vegetation on its roofs, not easy to dis- tinguish from its surroundings. Passing earthy rock stacked walls and entering through the large square and maroon brick arch, a dream-like end- less view unfolds. The complex received a Special Commendation at the 2015 GIFA (Gauteng Institute for Architecture) Awards. It is centrally situated in the 1000 ha Steyn City and was the first building to be completed in this 'Parkland Residence' on the northern periphery of Greater Johannesburg, now being developed. The Club by Boogertman + Partners commands a magnificent view over what was barren land, bar townships and other loose de- velopment, designated for industrial development. The cluster of buildings sits at the start and

finish of the 9 th and 18 th holes on an edge of an old abandoned mined quarry. The Jukskei River passes close by with two holes playing directly alongside it. Golf Data started construction of the Jack Nicklaus design in February 2009. The course features 73 bunkers and all greens are built to USGA specification. A golfer sitting at the bar said: 'I like the challenge, it's difficult to play and undoubtedly one of the ten best courses in the country.' The architect's brief required a clubhouse that should have minimal impact on the site.The building should be integrated into its surroundings, respon- sive and sensitive and also functional and sustainable. The architect's answer was: 'Architecture where once there was nothing, utilising the fissures in the landscape to create life, shelter and space.

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The clubhouse with a view of theT-off.

Bidding to blur the boundaries of interior and exte- rior, achieving a constant connection with nature, and creating an harmonious tension between the produced and the natural. The grassland sweeps over the architecture, and it in turn merges with its surroundings by exploiting the slope of the land to intentionally reduce its scale.The fragmentation of the building components enhances its con- nection with nature by juxtaposing the buildings’ organic shapes with the Highveld landscape.'This, of course, also conforms with the design philoso- phy of Steyn City, which states; 'It's not about the architecture; it's about the lifestyle and the inter- linking spaces between the architecture.' The building complex comprises four 'blocks' or 'elements' juxtaposed across a terrace with

exquisite views dotted with noisy bird-life.The Club- house, as such, with lounge and restaurant (The 19 th Hole) is a double-volume space and generous. The sports shop (Pro Shop) an element in its own and most singular in design, on the inter-linking terrace is hidden behind a spine of trees. Another element houses the gym, change rooms and administration. Obviously, parking by far takes the largest space. Emphasis was placed on the latest technologies regarding lighting, heat reclaim and distribution, grey water utilisation, recycling and reuse of build- ing material, greening of the architectural façades as well as the use of façade shading systems and performance glazing. The architects requested an independent lighting designer – Pamboukian lightdesign.

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The clubhouse with western gatehouse to Steyn City on the horizon.

By contrast, the carefully packed brown-grey exterior stone gabion walls, from stone excavated on site and hidden behind trees shrubs and bushes, are gently brought to life at night through soft up lighting.The landscape lighting is kept at a low level in order not to interfere with the land as it rolls out. Nor does glare from the terrace interfere with views onto the 18 th hole and beyond, or disturb the last late golfer. Dimming control was essential to achieve this as the complex, orientated to the West, is sub- jected to extreme daylight changes.The conscious balancing of artificial and natural light is imperative to maintaining an internal ambience that is not given to overly high light contrast, especially in the afternoons and towards sunset.

The lighting concept enhances the complex nestled so-to-say under a mound, almost growing out of the earth, by motivating subtle light from the bottom up that grazes the glass façade supports, casting a soft glow onto the concrete eaves. The glazed façades glow fromwithin, lantern-like, so the glazing disappears and the interiors dissolve onto the terrace.The building is articulated with rhythms and accents of light rather than broad washes. DSGN Interior Designers developed the 'ye old world' interiors with high arches, raw stone walls, varied textures, and a colour palette of earthy tones. The interiors are evocative and inviting, while not impacting too prominently on the night-scape. The interior has the comfort and ambience one would expect from an exclusive club; warm light, changing ambience, dignified and comfortable.

All photographs by Natalie Payne.

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Entrance toThe Club with the Pro Shop visible on the left.

Parking garage with custom-made ceiling up-down ambient light.

The fitness studio and sports-shop.

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Penza: a stylish post top

Ideal for parks and gardens, squares and piazzas, residential or parking areas, the elegant Penza from Regent Lighting is a stylish addition to any urban design. Housed in LM6 die cast aluminium and rated to IP65, this deco- rative luminaire will ensure efficient visual comfort and yet function equally well as a design element. It can be post or pedestal mounted and comes with a built-in heat sink for efficient thermal management. Twenty four or thirty six high powered LEDs, mounted onto an aluminium circuit board that incorporates Zener diodes and thermal protection, guarantee a long life span – and therefore reduced main- tenance – and high efficiency. Various lens options are available for different applications and to allow for custom solutions. Regent Lighting Solutions is a Johannesburg based lighting manufacturer with branches nationwide. Established in 1990 and currently employing 280 members of staff, the company specialises in the manufacture of standard or customised luminaires for local and international projects. Regent Lighting Solutions: + 27 11 474 0171 In the past number of years, LED technology has undergone remark- able development, not only in terms of light quality, anti-glare and efficiency, but initial investment costs are now at a reasonable level and the operating costs are minimal.Tommy Govén, head of research at Fagerhult, was part of the team that undertook a study to find out what people think of LEDs compared to traditional T5 light sources. Working with the Faculty of Engineering at Lund University, the team built two identical rooms both of which were equipped with direct light above the workstation and supplementary ambient on the walls. In one room LED lighting was used and in the other T5. The results were clear: the LED light was perceived as being brighter and more pleasant with ambient lighting of 100 cd/m 2 , a feeling that persisted up to 300 cd/m 2 . When LED lighting is used in an office, therefore, employees will work in a brighter, better working environ- ment that consumes less energy. Having recently been acquired by Fagerhult, Lighting Innovations is now in a position to offer a number of new products, one of which is the Tibi, a round beam ceiling luminaire, whose attractive design, inspired by Piet Hein’s super ellipse, provides a striking aesthetic component. Good direct light is complemented by indirect light to- wards the ceiling and the Tibi’s distinct form is maximised through advanced LED technology.The luminaire family consists of pendants, ceiling and wall luminaires with theTibi Pendant being supplied with DALI dimming as standard. In the long term, human wellbeing means greater profitability for the company. LED technology provides many opportunities to create a good working environment; and a well-designed workspace can strengthen a company’s brand and help to attract employees. Creating a good working environment

Lighting Innovations Africa: +27 11 444 1168

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Pendant panache Pendants offer striking, versatile lighting solutions for office, hospitality and retail applications. The latest EGLO pendant range from Eurolux is attractive, and the task and ambient lighting it provides will enhance any space. The Eglo Pinto family of lights offers a clean design with a cool contemporary feel and consists of two distinct ranges – the Pinto Nero and the Pinto 1. The Pinto Nero pendant is made from iron with matte nickel finish and a cylindrical hanging shade.The shade consists of a tinted glass outer and a shaped opal glass inner to allow for maximum distribution of light. The glass on glass effect gives a tasteful, modern look, with each pendant fitting a 60 W lamp. The Eglo Pinto 1 pendant presents a truly modern urban design. With steel cut-outs in the inner shade that allow light to escape outwards as well as down, the Pinto 1 complements residential city lofts as well as large public dining spaces. The inner cut-out has a chrome finish whilst the glass shade is clear. Each pendant takes a 50 W lamp. Both the Pinto Nero and Pinto 1 are available as single or three light pendants, with all designs allowing for height customisation. According to Shaun Bouchier, director at Eurolux, the reason that so many pendants offer a set of three lights is to achieve balance. “An easy way to attain balance is to repeat an element three times. But, natu- rally, scale is also important and in certain applications three pendants could be overwhelming so it may be best to use two larger pendants. It is for this reason that pendants often offer slim designs, allowing three pendants to fit quite easily over a selected space.” Those with more traditional tastes will appreci- ate the Eglo Alessandra single light pendant. It is a modern ceiling pendant with an LED light source, and has a white finish and a beautiful wide, alabaster glass shade. The lamp is suspended from a springy, adjustable cord making the height flexible, with a cord length of 1100 mm. The product is also available with a white alabaster shade featuring a brown effect. The Musero pendant collection by Eglo features machined aluminium trims in glass tube shades, suspended from dark aluminium metal ware. Fitted with built-in COB LEDs in 3000 K warm white, this versatile and stylish pendant is suitable for any room with a contemporary feel. To view Eurolux’s extensive range of pendants go online (www.eurolux.co.za) or visit one of its lifestyle showrooms in Cape Town or Johannesburg. Eurolux: +27 21 528 8400

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The penetrating life-look that grips visitors from the darkness of the wall-mount is unnerving in its intensity, and it is only on closer inspection of this over-sized portrait that it becomes obvious the artwork is an oil painting and not a photograph. The almost sculptural effect of the hyper-realistic artwork of Matthew Penn is the pinnacle of per- fection in the Chiaroscuro style, which works with dramatic contrasts between light and dark; helped, to excellent effect, by the precision accentuation delivered by spotlights. In striking similarity to the works of Caravaggio, Rembrandt and Titian, people in Matthew Penn’s focus seem to jump off the canvas in the directional light that is projected onto a dark background. The 27-year-old self-trained artist uses techniques of Chiaroscuro defined byTenebrism, itself a style that arose around 1600 and was perfected during the Renaissance. In this style, light finds a new, dra- matic role and, with expert use of strong contrasts between darkness and light, the personalities and body language of the characters are emphasised, giving the spatial depth of the artwork even more power. Matthew Penn regards light holistically and as an integral component of all his artwork. This not only applies to the technique, but also to his creative process. The portraits’ almost hypnotic qualities are only revealed with the right lighting systems in place. Penn uses ERCO lighting in his atelier and equips every piece of art with ERCO spotlights – these emphasise the Chiaroscuro ef- fect thanks to their precise accentuation. The goal Caravaggio-like lighting effects

emotion. In order to achieve this goal, ultimate precision of the photometric technology is key to avoid spill light on unwanted areas of the artwork. The light is almost painted into place. A further important theme of the exhibition was the selection of colour temperature. The art- ist selected Pollux 3 000 K warm white luminaires to emphasise faces, skin, hair and even wrinkles. Artistic lighting within the paintings is highlighted in neutral white, at 4000 K, which creates a life- like and almost three-dimensional effect. Penn explained, “This way of sculpting and manipulating the light on the painting enhances it to complete the piece. The combination of lighting and finished hyper-realistic painting takes the work into a mes- merising and engaging darker atmosphere where the viewer is transported and immersed within the portrait – a way of lighting not just to display the art but to enhance it and become part of the art itself.” ‘Matthew Penn – Illuminating Characters’ represents a collaboration between the artist and ERCO, a specialist in architectural lighting with LED technology. Highlights of the exhibition are the artis- tic approach and the significance of light in Penn’s creations. The exhibition is designed to be mobile. To find out more about Penn and his work, refer to this link: www.erco.com/matthew-penn/en ERCO: www.erco.com

Below: Matthew Penn lighting the scarf Copyright: Matthew Penn Art, Photographer: GilesToller

is simple – collectors should be able to enjoy the artwork with exactly defined illumination and, in this way, the artist can be sure that the full power of his work is enjoyed. The exhibition space in which the artistic project by Matthew Penn, ‘Illuminating Characters’, took place is a temporary black cubicle. Pollux spotlights were used, either with 2 W narrow spot distribution or as a 6 W contour spotlight, which was ideal for the illumination of the three extremely large paintings. “I use Pol- lux lights because they allow me to sculpt the light on the painting with more control and a refined definition,” Penn explained. He uses ERCO light- ing tools to deliver targeted accent lighting onto specific details, lending further depth, and beyond that, true

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Chiaroscuro with ERCO lighting tools: With precise lighting accents, Matthew Penn emphasises details of his art

Copyright: ERCO GmbH, Photographer: Frieder Blickle

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NEWDECORATIVE PENDANT RANGE

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PF200 Decorative pendant

PF201 Decorative pendant

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PF202 Decorative pendant

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PF204 Decorative pendant

PF205 Decorative pendant

Radiant is committed to a brighter, greener future by creating lighting and solar solutions which are beautiful by design and inspired by nature. We offer the widest range of superior quality lighting solutions for the home, office and garden. Radiant is a responsible, caring company that always has the best interests of our clients at heart.

Oyster Box honours the environment Mindful of the need to reduce operating costs and acknowledging its obligation to minimise the impact of its operations on the environment, the five-star Oyster Box hotel in Umhlanga, KwaZulu-Natal, em- barked on an energy efficiency campaign to reduce electricity usage.

activates the lights in the room on entry. When guests leave the room, the card reader automatical- ly shuts down lighting and air conditioning systems. “Recognising that lighting accounted for a sig- nificant portion of our energy costs, we replaced over 600 electricity intensive incandescent and halogen lamps with CFLs in the hotel’s common areas and passages. These lamps use up to 80% less electricity and last about eight times longer than incandescent lamps whilst producing the same amount of light. We have, therefore, retained the same warm ambience in our public areas,” says Olsen. Motion sensors in the hotel’s administrative offices and storerooms ensure that no electricity is wasted through lighting and ventilation systems being left on unnecessarily. Outside, the Oyster Box has implemented a heat recovery system that absorbs heat rejected by its cooling towers to heat water and keep the hotel’s 15 sparkling pools at the desired warm temperature. A stringent maintenance programme exists for heating, ventilation and air conditioning systems; refrigeration systems; fans; and lighting and cook- ing equipment. Knowing that its energy saving drive cannot be effective or sustainable without the support of its staff, the Oyster Box also runs a comprehensive back-of-house campaign to encourage electricity smart behaviour amongst employees, who are reminded to switch off lights and appliances when they are not in use. Visit www.eskom.co.za/idm for information on energy saving.

From the inner core of the 86-room hotel to the breathtaking pool areas outside, energy saving technologies and electricity smart behaviours are quietly at work to optimise efficiencies. According to Jonathan Olsen, the Maintenance Manager at the hotel, it was important to the owners, Stanley and BeaTollman, that the process of implementing these strategic interventions should in no way affect their guests’ experience. The energy saving journey began in the hotel’s guest rooms. Windows were double-glazed to minimise radiant heat from permeating the rooms, which even in the warm and humid KwaZulu-Natal climate assists with limiting the need for artificial cooling. In winter, the window glazing serves to retain internal temperatures without overusing heating systems. Specialised reflective paint has been used on ceilings to reflect light and create natural lightness, which minimises the need for artificial lighting dur- ing the day. Ceiling fans, a more cost effective and energy efficient cooling alternative to air condition- ers, were installed in every guest room; guests are encouraged to use these instead of turning on air conditioners. Micro switches have been installed on all rooms’ sliding doors so that air conditioners are automati- cally turned off when a door is opened. Guests’ room cards have been equipped with a reader that

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The RCM LED – shedding new light

Voltex Lighting has taken Mellow light to an entirely new level with the introduction of the RCM LED. This has been achieved by optimising the ‘mellow light’ concept, which is ultimately one of perception, the result of which is a visual environment that appears brighter at lower levels of illuminance. Mellow light fixtures produce high vertical, even horizontal illuminance making it easier for people to see, which is why it appears brighter when compared to dark light fixtures. Dark light or louvered light fixtures cre- ate numerous light and dark patches that can cause eye fatigue.These contrasts force the eye to adapt continually between a back- drop of light and dark contrasts.With a dark light fixture little light emits from the fixture; the opposite applies to Mellow Lights. With the new RCM LED these con- trasts are eliminated and consistent high levels of illuminance are achieved. A higher

level of eye comfort is provided because the LEDs are totally masked by the optic and soft diffused light is achieved through high angle brightness controlled material. Studies have shown that the optimum level of illuminance in terms of productiv- ity, lies somewhere between 350 and 400 lux and the norm is to design to 500 lux. With the RCM LED it is possible to design using fewer luminaires yet maintain an environment where the perception of light is visually brighter. The RCM offers the ultimate in com- fort and brightness as well as a greatly improved aesthetic, with its stylish hi-tech appearance.Technically it offers maximum performance using high transmission material with even light diffusion over the entire optic with 87% efficiency, 118 lm/W efficacy and high colour rendering. Says GLP Inc president, Mark Ravenhill. “If you want to mimic molefays, you can; if you want to create groundrows, you can; if you want to make a little 2-Lite or a stadium style light fitting, then you can — and you still have full control over each head individually.” Control for the Atom heads is via an Atom PSU controller — commencing with a 12-way, but with a 6-way and other models to follow. The PSU supplies power and data down a single 4 pin XLR cable to each Atom head. “Since it uses the same format as industry standard colour scroller cable, the rental houses who have stopped using colour changers can now repurpose all that existing cable and infrastruc- ture — meaning less investment for them and reduction of overall environmental impact of the Atom,” says Ravenhill. Rounding out the feature set, the impression X4 Atom contains other advanced features, in- cluding adjustable flicker free control, beautiful colour mixing, smooth dimming without any colour shift and variable speed strobe. Shipping of the GLP impression X4 Atom has begun. Voltex Lighting: +27 11 402 0251 or www.voltex.co.za

The mighty Atom

If the atom is the basic building block of all mat- ter, it can be argued that the sheer versatility of GLP’s new impression X4 Atom — which will occupy a unique position in the marketplace — will provide a fundamental tool for all lighting disciplines. Size matters, and the power of the Atom comes from a body that measures less than 16 cm long and weighs just 1.3 kg. Within that body is a high powered 15WRGBWLED source that emits a bright beam with even colour distribution across a full spectrum. Making the Atom unique in its class is a motorised zoom inside that gives a mighty 9:1 ratio; running from 3.5°-34° and adding a huge amount of flexibility. Increasing its usability in multiple applications is the IP65 rating that the unit carries, allowing it to be used all year round indoors or out. Furthermore, the X4 Atom features a clever interlock mechanism that allows units to be built into different configurations quickly and easily. It is therefore set to benefit multiple applica- tions fromTV and film, to corporate events, set lighting and special events. Also benefitting will be concert touring stages, truss systems and architectural elements, as the interlock system quickly turns single fixtures into 4-Lites, 8-Lites or any other shape.

GLP German Light Products: www.glp.de

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