Lighting in Design February-March 2018 02-03/18

Captivating light for Maropeng

No need for coffee with workplace lighting system

World’s first LiFi lamp


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Ed Space

I n this issue of Lighting in Design, there are two articles that consider lighting design as a profession. In the first, Gregg Cocking speaks to Tanzanian lighting designer Sakina Dugawalla about her love of her profession and how the discipline fares in Africa, while in the second AnthonyTischhauser of Pamboukian lightdesign discusses the German concept of Wertschätzung as it relates to lighting design. Both parties feel that like the architect, who controls the spacial and operational aspect of a building, the lighting designer should control the feel and impact of light. Both acknowledge this role is often not recognised by clients and other professionals. Europeans generally have an appreciation and understanding of the value of light and its effect on a space, and clients are often prepared to pay for the right quality of light. In South Africa and much of the rest of Africa the value of lighting design is not widely recognised. Any discussion around the topic of architectural lighting tends to be dominated by cost and, to quote Tischhauser, in most cases, when a project is cost engineered something inevitably gets lost. Sakina agrees and feels the solution is to build awareness of the importance of lighting design by working hand in hand with the architectural, landscape and interior design disciplines. Although clients frequently see lighting designers as an expensive and unnecessary cost, they are trained to understand the design intent of the architect, are familiar with the technical competencies of light fittings and are equipped to find an aesthetic and practical solution that the client can appreciate and afford. As she points out, a lighting designer can also design (or re-design, if called on at a later stage, as is so often the case) an installation to be energy ef- ficient, and ensure cost savings. At the offices of Czechoslovakian energy company innogy, Philips Lighting has installed an LED lighting system tuned to support the circadian rhythms of the of- fice staff, including stimulating their energy levels at set times in the day.This helps to enhance workplace comfort and vision, and supports a sense of wellbeing and performance.The combination of natural and electric lighting plays a significant role in the aesthetic and functional environment of RCL Foods’ head office and Caldas Engineering, for its new offices, specified maximum use of natural light in order to reduce the consumption of energy. When the services of a lighting designer are enlisted from the start of a project, that designer is responsible for the quality of the space – the aesthetic, the techni- calities, the cost and the success of the lighting installation. In the final outcome, he or she will have earned their charge, saved the client money and ensured the comfort of the people who inhabit the space. As more companies become aware of the physiological benefits of light, the effects of well placed luminaires, and the ever-growing cost of energy, there is a chance that the value of employing a qualified lighting designer at the outset of a project will be realised and lighting designers be given the chance to show their mettle. Let’s hope so.

Editor: Karen Grant ( Journalist: Gregg Cocking Advertising manager: Carin Hannay (

Layout: Adel JvR Bothma Circulation: Karen Smith Cover: Caldas Engineering Photograph courtesy Architects Of Justice. Published by Crown Publications cc PO Box 140, Bedfordview, 2008 - Tel: +27 (0)11 622 4770 Fax: +27 (0)11 615 6108 - Website:

ABC 4 th quarter: 3 568 Printed by: Tandym Print All issues of Lighting in Design can be viewed on our website. Visit


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IN side ...

EDspace Editor’s comment.


An award-winning African workspace The combination of natural and electric lighting plays a significant role in the aesthetic and functional environment of RCL Foods’ new head office building in Westside Office Park in Durban. Eye-catching space for Cradle of Humankind Regent Lighting Solutions worked with GREENInc to create a thought-provoking picnic and event space at the official visitor centre of Maropeng’s Cradle of Humankind. Hong Kong International Lighting Fair: a decade of trade The Spring Edition of the Hong Kong International Lighting Fair takes place at the Hong Kong Convention and Exhibition Centre from 6 – 9 April.To celebrate its10 th anniversary, the Fair has introduced a number of new lighting zones. Designed to maximise natural light From a lighting perspective, the directive to Architects of Justice for the design of Caldas Engineering’s new office building in Activia Park, Germiston, was to make maximum use of natural light to reduce the consumption of electricity. Lighting for function and funk Light.Func is a boutique lighting design studio with branches in Dar es Salaam and Dubai. Gregg Cocking spoke to founder Sakina Dugawalla about the role of a lighting designer in Africa. Office lighting stimulates energy levels Philips Lighting has taken its knowledge of how lighting benefits people physiologically, and applied it to the office space of innogy, a Czechoslovakian energy company. Wertschätzung – value in lighting Wertschätzung implies value of quality in achieving an aesthetic versus financial value. This article by Anthony Tischhauser is based on a discussion between a visiting light designer from Germany and members of Pamboukian lightdesign.



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An award-winning African workspace

T he design project for RCL Foods inWestside Office Park in Durban – a beautifully-designed 12 000 m 2 head office building which will be the hub of its operations in South Africa – is a merger of five individual companies to form RCL Foods. Working closely with the client team, the architects, developer and branding agency, Novo- space, acted collaboratively to create a new busi- ness culture identity reflected in the interior design. The building, arranged over four levels of offices, focuses on a dramatic central atrium, the ‘heart’ of the building, to which all workspace, meeting spaces and food functions integrally relate. The brief revolved around generating a work environment focused on people. RCL Foods was emphatic that the environment foster a sense of unity; defining a new culture with the creation of energetic and creative spaces, with chance inter- actions. The programme called for the integration of test and development kitchens, a public food

shop, cafés, a skybar, canteens and numerous touchdown and breakout areas. This was under- scored by the requirement to provide an efficient and flexible work space, with the overriding inten- tion to facilitate an office designed to attract and retain talent and personnel. All the spaces above were designed around the atrium, to generate a collaborative working environment. RCL Foods wanted to create an office build- ing that differentiated it from its competition and became a destination for clients and staff. After extensive research of various corporates in a simi- lar field, Novospace developed two concepts for consideration: the first being ‘edgy modern’ and the second, ‘funky raw’. Research showed that while competing cor- porates enjoyed remarkable spaces, ‘vanilla’ and 'familiar' were the overriding threads. ‘Vanilla’ cor- porate outcomes are singularly prevalent and this point of departure was adopted to create a unique,


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the majority of the lighting throughout the space being LEDs and energy efficient fluorescents. “We incorporated large Martinelli fittings within the atrium space to create sufficient lighting, which simultaneously became one of the main features relating to the central ‘spine’ staircase moving up the four floors,” explained Long. There is a high percentage of natural light within the building, which is one of the features of this space as an office environment. “There are few, if any, areas within the office that do not have access to natural daylight. This plays a stunning role in the design of the building as you are always connected to the outside which is unusual in a commercial building of this size," says Long. He said that the combination of natural and electrical lighting played a large role in the aesthetic and functional environment of the project. “Lighting should always play a major role in the work envi- ronment, with brighter, more functional lighting in

crafted industrial aesthetic.The development of the two base concepts ultimately yielded an interior to inspire its occupants and create an African working environment. A subtle approach was taken to link the interior with the nature of RCL Foods’ business – the oc- casional table supported by cutlery-shaped legs is a whimsical touch. Specific facilities needed for the project included test and development kitchens, a public food shop, cafés and a skybar. These were integrated around a dramatic central atrium to en- courage collaborative working practices. Lighting played an important role in creating this environment. “The brief called for lighting to be a feature within the atrium space and other key areas, such as break out areas, meeting rooms and pause areas,” said Mike Long from EPL Novospace. In the working zones, aswithmost offices, the lightingwas required to be functional and efficient, and as such, all the lighting specified was energy efficient with


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work zones and more subdued lighting in break out areas and pause zones, to give occupants varying degrees of lighting throughout the day.” Special attention was given to limit glare from the light fittings onto computer screens and to correct lux levels for the various zones. The dynamic team of professionals behind the new development undertaken by JT Ross included the RCL Foods Executive, Elphick Proome Archi- tects and Novospace, as well as a leading team of engineers and sub-contractors. The interior design is inspired by RCL Food’s collaborative culture and its passion for providing "more food to more people, more often". The ultimate result is a truly African working environment – one that departs from the familiar sameness of competing companies to create its own bespoke industrial aesthetic and identity. It is a creative, open-plan work space that inspires connection and teamwork, and brings the client's passion for food alive.

RCL Foods interior is the best in the world EPL Novospace attended the International Property Awards in Dubai last year where they won the award for Best Office Interior for South Africa in the Africa & Asia property awards for the RCL Food head office project. With this award they were entered as a finalist into the International Property Awards held at the Savoy Hotel in London in December 2017, where the project won the award for the Best Office Interior in Africa, and later that evening, for the Best International Office Interior, beat- ing competition from around the world in the process.


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Eye-catching space for Cradle of Humankind

At the official visitor centre of Maropeng’s Cradle of Humankind – Gauteng’s only World Heritage Site – Regent Lighting Solutions (RLS) worked closely with GREENInc, an award winning landscape architectural practice, to create an eye-catching and thought-provoking picnic and event space.

T he centre is currently undergoing a landscap- ing upgrade by adding the picnic site as an additional attraction for local and international tourists. Against a scenic backdrop of indigenous trees, the site will contain aggregate pathways, sculptures, benches, and picnic areas for use by the public. “The brief from government was to design three picnic sites that would function as an extension of the current museum experience,” explains GREEN- Inc’s Wallace Honiball. “For the Human Impact site, now named Stone Park, we didn’t want to overburden the space with content, so we created a spatial experience by introducing a man-made oval sculpture into a very natural environment. The

result is a contemplative space where visitors can engage with the theme of human impact.” Honiball says that one of the main intentions was to create a sheltered space for outdoor events since the environment at Maropeng can be at the mercy of the elements, with dramatic wind and temperature variations. Because it is a very sensi- tive site, an ecologist removed the top layer of soil and certain plants and stored them safely until after the earthworks were completed, ensuring that the landscape comprises locally sourced natural materi- als which are 100% indigenous. In the process of playing down the content for the picnic area, two exhibition items were designed for the space; a set of stone tool sculptures and a


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semi-circle ring of asymmetric sliding rectangles and circles. Designed by architect Nabeel Essa from Office 24/7, the stone tool sculptures are placed at the entrance to the site. Essa’s work made use of 3-D scanning technology where he digitally recre- ated, at a 300% life size scale, a pair of stone tool artifacts from the area. The second sculpture is the focal point of the site and functions as a seating ring for picnics or events, wheremore than 200 custom-designed and cut unpolished Rustenburg granite blocks, each of a different size, make up the ovular sculptural seating. “These features all relate to create an interpretive space which does not overpower the site,” says Honiball. Both stone sculptures stand to remind visitors how far we have come as a species, and serve as a beautiful tribute to our humble begin- nings as intelligent life forms in the area. An important aspect of the project was the lighting which would allowMaropeng to extend the usage of the space. Having worked successfully with RLS on a number of successful projects in the past, includingThe Houston, the Botswana Innova- tive Hub, Nelson Mandela Children’s Hospital and FreedomPark, GREENInc approached the company to assist with the lighting design at Maropeng. “Lighting was engrained in the project from the beginning,” says Honiball. Catherine Feher of RLS

makes the point that in order to limit light pollution, no uplighting was allowed. “Standard Piazza bollard lighting was used along the walkways leading to the site and to light the sculptures at the entrance.” The Piazza is an elegant upstand light with low downlighting. The lighting that captures the attention of most visitors though, is the lighting solution designed for the seating ring. “After our discussion with Cath- erine, the intent was always to have the seating lit through the slits that are present,” says Honiball. “As the diameter of ring is 30 m, we needed something with a bit of a punch to create the de- sired effect,” explains Feher. Since there was no standard light fitting available to suit the purpose, after some lateral thinking, the RLS team came up with a solution. They repurposed a wall washer fitting (designed to wash the façade of a building with light) using a stand and baseplate to ensure its integrity, and set a total of 27 fittings 30 cm back from the ring to provide the desired strips of light through the gaps as well as reflective light, which bounces back off the ring. The effect is captivating – the beams of light cross in the centre of the ring and spill upwards to highlight the 3 m raised berm. It is this ‘out-of-the-box’ thinking that has seen RLS find solutions for a multitude of problems which other companies may just have shrugged


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at. “The light fitting used is from our Vala range,” explains RLS’s Byron Lottering. “With an LM 6 die cast aluminium and extruded aluminium housing, the fitting is designed to operate a range of LEDs up to 48W.” Mott MacDonald Consulting Engineers Africa, the electrical engineers, worked closely with RLS and GREENInc to take the design and make it work in practice. Flexibility of the lighting solution was very impor- tant for the client. “As it is an open and clean space, the lighting gives the site more versatility.The lights are on day/night switches as well as all being on different circuits, so they can be switched on and off depending on the requirements of the events, and they are all set on a dimmer, which is another advantage,” says Honiball. Eventing options are be- ing explored, such as weddings; Thai Chi classes, star gazing evenings and arts and entertainment. “The control gear used is DALI, which allows for dimming of LEDs,” says Ronald de Lange, electron- ics and automation engineer at RLS. “Currently, it is programmed to be able to dim at four different light levels via four push buttons, yet using DALI allows for future upgrades such as daylight harvest- ing and motion control. DALI also creates potential for connectivity for added flexibility; smart devices can be connected to the system to make lighting control a lot easier.” Maropeng translates as ‘returning to the place of origin’, and with the Human Impact picnic site, all those involved have contributed to creating a space that not only celebrates human achievement in an unpretentious way, but through the design and the technology employed, have achieved the design goals by being almost unobtrusive in their intervention. Having been completed in October 2017, the landscape is still new and will mature over time, with many of the trees and plants needing a few seasons to establish themselves, yet the client is very happy, as is GREENInc. “It came out beautifully,” concludes Honiball.


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Hong Kong International Lighting Fair (Spring Edition): a decade of trade

tors, a series of events will be held during the fair period to unveil industry trends and facilitate intellectual ex- change among industry players. The Asian Lighting Forum, co-organised with the Hong Kong Electronics & Technologies Association and Hong Kong Institution of Engineers – Elec- tronic Division, will cover topics such as the convergent future of the light- ing industry and application of smart lighting. To encourage suppliers to use online-to-offline (O2O) promotion, the HKTDC will enhance the sourcing function of its trade fair websites by launching the new year-round ‘Exhibi- tions Online’ platform at the Spring Lighting Fair. Apart from featuring fair updates and the latest industry sourc- ing information, the new initiative will allow suppliers to connect with world- wide buyers, while buyers can search and source desired products from the dedicated fair website. It extends the exhibition online, to facilitate business discussions between suppliers and buyers beyond the fair period. The HKTDC’s e-Badge initiative, which was well-received at its launch during November’s Optical Fair, will gradually be introduced to most of the trade fairs this year, including the Lighting Fair (Spring Edition).

of Chandeliers, Decorative Lighting, Advertising Display Lighting, and Commercial Lighting zones, visiting buyers can find relevant lighting fix- tures, components and accessories in each dedicated theme zone. With the ‘smartification’ of light, the Smart Lighting & Solution zone will return to showcase advanced lighting systems, remote control and smart lighting solutions, while the new Horticultural Lighting zone will present the latest grow lights for different plants, for professional pro- duction and domestic use, as well as a selection of garden lights. Enlightening events In addition to the broad spectrum of products being shown by the exhibi-

Organised by the Hong Kong Trade Development Council (HKTDC), the Hong Kong International Lighting Fair (Spring Edition) celebrates its 10 th anniversary this year from 6-9 April at the Hong Kong Convention and Exhibition Centre.The fair is expected to attract over 1300 exhibitors. In 2017, it welcomed close to 21 000 buyers from 115 countries and regions. Thematic zones for easy sourcing The Hall of Aurora will provide an elegant setting for top brands around the globe to showcase their high- quality lighting fixtures and solutions. Residential Lighting, Technical Light- ing and Urban &Architectural Lighting zones have been introduced to the fair this year and, with the Avenue

HKTDC Lighting Fair:

Designed to maximise natural light

O n a challenging site, Architects Of Justice (AOJ) have created a geometrically strik- ing industrial-chic office building, which employs straightforward sustainable design meth- odology and technology. “In mid-2015 we were commissioned to design a new office building for Caldas Engineering, a sup- plier of crusher parts to the mining industry,” said principal architect, Mike Rassmann. As Caldas had expanded steadily over the years, its premises in Meadowdale had become cramped and did not pos- sess good views into the yard and over the stock, something that was imperative for a company which relied on dispatching stock quickly. Caldas required more yard space (for stock storage) and more office space (to accommodate its increasing staff complement). The company acquired a 4300 m² rectangular property in Activia Park, Germiston, which met its requirement for more yard space but unfortunately did not have any quality office space on it. “The property had limited, derelict office space


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only paint used on the exterior of the building was on the ground floor. “From a light- ing perspective, the directive from the beginning of the project from our side was to make maximum use of natural lighting within the

at the back of the site, and we had to maximise the yard area to make every spare square metre of space beneficial for the client,” ex- plained Rassmann. The starting point for the design was to locate and size t he new o ff i ce building – named

building to reduce electrical consumption,” said Rassmann, noting that, “Not using LED lighting wasn't even a question. All lights in the building are LED”. He said that it had become easier to spec LED lighting these days, as the range of options available has grown significantly. The façade of the building was designed and sculpted to balance the natural light received at different times of the day.The east

Rubela Park – on the site to maximise the yard space, while ensuring the new building would have an optimal solar orientation. After careful consideration and analysis it was decided to orientate the building lengthways in a north-south direction to maximise the yard space, and place as much office space as possible on the north side of the building and locate all the service spaces to the south of the building. As the length of

façade has large windows to allow as much indirect natural light in as possible through- out the day with vertical louvres to screen out the direct sunlight in the mornings, while the north façade has large wi ndows wi t h horizontal louvres to screen out the direct sunlight at midday. The west façade has long thin horizont al windows located high up as this improves the dis- tance that natural

the structure would be facing east and west, large win- dows were placed on the east façade, to maximise natural light and reduce the electrical consump- tion of the building. Two of the cli- en t ’s ma j o r r e - ques t s were to keep the design of the building as cost effective as possible and to mi- nimise the amount of ma i ntenance required on the façade. To achieve this, the building is essentially a mod- est and efficient

light can penetrate into the office spaces.Windows on other facades are designed to ensure maximum penetration of natural light within the office space. To take maximum advantage of South Africa’s optimal solar conditions, a photovoltaic (PV) solar plant, for electricity generation, was installed on the roof of the building. PV electricity generation is

rectangular face brick box, with a raw industrial in- terior, embellished on the exterior only by a simple external translucent polycarbonate screen (which is illuminated at might), which not only moderates solar heat gain on the façades but also provides much needed shape and interest to the form of the building. Following the low maintenance brief, the


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Light is valuable LED VALUE STICK Perfect LED replacement for incandescent and energy saving lamps.

ideal for office buildings as they are predominantly in use during the day when electricity generation is taking place, thereby removing the necessity of installing a costly battery and inverter system within the building. The building is laid out over three levels; a ground floor housing the reception, a boardroom, a meeting pod, an open plan sales office, covered parking and a garage; amezzanine floor housing a staff loungewith kitchen, executive offices and an indoor planted area (to incorporate greenery into the building interior); and a first floor housing the administration offices. “As the building has an industrial feel, all the internal light fittings are elegant but at the same time quite tectonic,” Rassmann explained. “This project was about creating something low maintenance which looked great and operated on a sustainable level,” concluded Rassmann. “We used forthright sustainable technology to get the building to perform the way we wanted it to, things that should come naturally as common sense and which should be integrated into the design of all buildings.” The project received a Gauteng Institute for Architecture (GIFA) Award of Commendation in 2017.


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Lighting for function and funk

Light.Func, a boutique lighting design studio with branches in Dar es Salaam and Dubai, was established by Tanzanian lighting designer, Sakina Dugawalla.

T he ‘func’ in Light.Func, referring to both function and funk, explains how the team approaches its projects: ‘with a function in mind, but with the ability to make people feel ex- citement, wonder and joy, not unlike funk music’. The company provides independent lighting solu- tions that are pleasing to the eye and practical for all architecture and design, from commercial and industrial through landscape and heritage to en- tertainment. The entire team has a background in architecture and/or interior design, so every space is seen through the eyes of a design-infused brain. Texture, colour, composition, volume, these are all things considered before any project is tackled. Gregg Cocking of Crown Publications spoke to Dugawalla about her love of lighting. GC:What drew you to lighting? SD: Light is emotive and still misunderstood. During my second year lighting module at design

school, my professor persuaded me to intern for ERCO, one of the most important lighting manufac- turers in Europe. That company’s approach to light fixtures is based on a philosophy of giving the best lighting solutions, and its unique technology allows the company to spread the ‘less is more’ mental- ity, which architects and interior designers love. I realised that it was possible to light spaces using a combination of different principles of lighting and the result was, not only does the look of the space change, how we feel while in that space changes, as does our perception. In realistic terms, I could emphasise one element more than another, and create a calm, soothing space or a dramatic one. I then began delving into the vast realm of lighting design where I discovered that crucial things are often overlooked, like the psychology of seeing and the physiological, natural aspects of the human eye. Understanding physiology, psychology and the impact of lighting allows you to create spaces


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Exterior concept.

consumption, cooling, and the need to be inte- grated with all the other services within the built canvas. We ensure that the installer is well-versed in the technical solution we apply, because if the tools are not used properly, the design intent is lost. However, just as important as all these points, is the end user, the inhabitant – the person who will use that space. Applying our knowledge, we try to find an aesthetic and technical solution so that the use of the space is the main focus, whether a fine-dining experience, a call centre that needs to function all day round, a sports facility that is used after dark, or a spa. Other than the etiquette we must observe for all parties involved, we strive to find ways to harness natural daylight and complement it with artificial light in a functional and aesthetic, but energy- efficient and sustainable way. Africa is blessed with dark skies and a coherent lighting design should protect these. GC: Is lighting design as a discipline something new on the African continent? And are you finding more acceptance of the role a specialist lighting designer can play in architecture and designer? SD: Lighting design has existed since the 80s. There are a few lighting designers on the continent already and we join them in trying to build further awareness of the importance of lighting design by working hand in hand with the architecture/ landscape/interior design disciplines. Manufactur- ers have infiltrated the continent and misinformed the general public about what lighting design is. We are therefore in an upstream battle to change this formed opinion – progress is slow, but there are some firms who realise the importance of it.

that can change how people feel and how they experience space, and can impact their wellbeing and ultimately their appreciation. GC: Why do you think a lighting designer is important to a project? SD: Well, a lighting designer is as important to a project as an architect or an interior designer. Light- ing designers take a neutral approach to a project by analysing every aspect of it that is important to the client, architect/interior designer, engineer, installer, supplier/manufacturer and finally the inhabitant. Lighting is more than just a fixture in a space; it is an element that allows you to perceive that space – meaning that the way we light a space is key. Lighting designers are important because our modus operandi is to find a solution that the client appreciates and can afford, both points be- ing equally important. We focus on the design elements the creative minds behind the space have put together, ensuring the best solution for their design intent. We liaise with the engineering disciplines on the technical aspects of lighting design, fixture characteristics that impact energy


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The most crucial issue is convincing clients they need to pay another professional. The market is competitive, and those who supply the cheap- est solution usually end up winning the project, making it difficult for architectural/interior design studios to add lighting design to their proposals. However, Rome was not built in a day. It took time, planning and patience, and I knew when I gave up employment to establish Light.Func that it would be the most challenging thing I have ever done.We keep fighting. There have been instances where a lighting solution ended up having to be redone from scratch. I read somewhere that bad design is not just ugly, it’s expensive, and it is my hope that more and more design professionals see the benefit of using a lighting designer because lighting truly can make or break a space. To an end user, I ask: would you let a tile manufacturer design your home or office?

GC: Can you tell us a bit more about the projects you are currently working on, in Tanzania and Zanzibar? SD: At present, the markets inTanzania and Zanzi- bar are struggling, as is the Middle East, primarily because of what we perceive is a recession, but also as a result of a primitive industry where lighting design is concerned. Suppliers with showrooms coerce clients to see their lights, and the selling point is; “Look at this, it is only 100,000 Tshs, it is bright and comes with a six month warranty”. Sometimes our suggestions are accepted verbally, and we later find the project has been supplied without our knowledge. We worked on Fumba Uptown Villas in Zanzibar where we supplied a master plan for the street lighting. Fumba is a vision by Mr Said Bakhressa and his company Union Property Developers Ltd to create the first luxury gated villa community in Zanzibar. Bakhressa decided to raise the bar for life- style and architecture by developing a standalone community that would have its own residential, retail and leisure facilities.We undertook the design through the main consultant and, working closely with the client, developed a complete street light- ing solution that is part of the overall masterplan. The challenge was to find an energy efficient, long- life solution that was also unique. Custom-made marine grade pole-lighting was designed so that we achieved the least environmental impact us- ing European and International Standards. We did extensive studies to ensure the colour temperature used would not impact the ecological environment and further that the levels achieved should coincide with a rural setting, so as to not destroy the dark sky element.We also re-designed the initial lighting design concept of the villas. Using our expertise, we were able to find a more economical solution for the interior, which still gave the residences a hos- pitality feel inside and outside. Most importantly, we managed to drastically cut down the exterior lighting by finding a 2-in-1 solution of lighting out- door verandas and balconies with fixtures that illuminated the façade architecturally. The savings on power consumption, and the eventual economic impact were massive. We are also involved with a heritage site on the mainland, a pro bono job to raise awareness of the cultural history of Tanzania and Zanzibar as well as the importance of lighting design. We are also involved in private residences in Nigeria, some of which should be completed by Q2 next year. Everyone has a journey ... ours is light.

Sakina Dugawalla


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E mployees enjoy a comfortable bright light, similar to natural daylight, to start their day and after lunch. This helps to stimulate en- ergy levels and enhance workplace comfort and vision, supporting a sense of wellbeing and per- formance (exposure to a light setting of 5000 K at 780 lux for one to four hours can stimulate alert- ness and energy levels in the human body). The stimulus from the human centric lighting fixtures is likened to a strong cup of coffee. In November 2017, innogy completed a reno- vation of 10 000 m 2 of office space at its Czech Republic headquarters in Prague. The company went from a traditional closed office environment to open plan, and used the opportunity to create a work environment that enhances the comfort, wellbeing and productivity of its 550 office em- ployees. Lighting played a key role in the renova- tion which involved a new restaurant, furniture, healthy food, kitchens and creativity spaces. Philips Lighting installed a networked light- ing system consisting of approximately 2000 Philips LED luminaires.These include 860 Philips PowerBalance tunable white ceiling fixtures and 96 Philips LuxSpace tunable white downlights, programmed to provide different light settings at various times of the day. The subtle differences in the colour temperature and intensity of the lighting also support eye comfort and may be personalised by employees to suit specific tasks. While the emphasis of the lighting system is on enhancing employee comfort, it is also helping Philips Lighting has helped to transform the Czech Republic headquarters of energy company innogy by installing an LED lighting system tuned to support the circadian rhythms of innogy’s office staff, including stimulating their energy levels at set times in the day. Office lighting stimulates energy levels


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to improve operational efficiency through remote monitoring and maintenance. “We wanted to create an outstanding envi- ronment for our employees. At the beginning of the day, office lights mimic natural daylight, providing a useful energy boost. The light levels decrease until after lunch when we give another boost to help staff over the post-lunch energy dip. Nearly 80% of employees surveyed described the new lighting as better or much better than the previous fluorescent tube lighting, while 60% agreed that it contributed to a place in which they wanted to work,” saidTomáš Michna, senior manager for facility and services at innogy Czech Republic. “We’ve taken our knowledge of how light physiologically benefits people from successful projects in hospitals and schools and applied it to the office space. We know that exposure to a certain comfortable bright light setting for one- hour can provide a mild energy stimulus similar to a cup of coffee and supports wakefulness,” said Ji ř í Tourek, country manager Czech Republic at Philips Lighting. ‘’Similarly, other light settings can aid relax- ation or help people to wind down before lunch or going home.” While the lighting is designed to complement people’s natural circadian rhythms, employees at innogy may, at any time, override the light settings – tailoring the light to their needs or specific work tasks – using a wall-mounted Phil- ips Antumbra Dynalite control. The touch-button enables control of lighting and blinds, allowing workers to personalise their immediate environ- ments to suit their preferences. High workplace satisfaction positively correlates with high employee engagement. Independent research reveals that workplace satisfaction makes good business sense as disengaged employees cost organisations an average of USD 3,400 a year for every USD 10,000 in annual salary.The lighting at Limuzská, which 56% of employees found to be easy on the eyes, also contributed to employees rating an improvement in their performance fol- lowing the renovation. Saving energy The installation includes approximately 150 sen- sors that detect human presence and switch the lights off in a room or area when it is vacated. The combination of energy-efficient LED light- ing and controls has enabled innogy to reduce electricity used for lighting by around 50% com- pared to its previous fluorescent lighting.


LiD FEB/MAR 2018

Wertschätzung: value in lighting

T his article by Anthony Tischhauser is based on a discussion between Hannah Hözl a visiting light de- signer from Germany and members of Pamboukian lightdesign. Hannah asked the question: 'What value does Wertschätzung have in local lighting design?' ‘Esteem’, ‘regard’, ‘appreciation’ – these are direct translations of the German word Wertschätzung . They do not fully explain, however, what the term means when referring to a service for clients. Used by lighting design- ers in Germany, Wertschätzung implies value of quality in achieving an aesthetic versus financial value. The value of the discipline of lighting design is not really recognised in the building industry. Lighting has a particular value and requires an appropriate budget, but in South Africa any discussion around architectural light- ing tends to be dominated by cost and, in most cases, when a project is cost engineered something inevitably gets lost. Lighting design is an investment in quality and adds value to the end product which is directly related to the investment. As a result of a lack of understanding or genuine ap- preciation for lighting, Wertschätzung is seldom discussed with a client and is not widely practiced in our country. Here, clients tend to expect an amazing ‘lighting outcome’ on a tight budget. Cheap fittings, however, cannot fulfil the same function or deliver the same quality of light as more expensive luminaires. A well-engineered fitting with good performance, good quality of light, excellent optics and controllable, by necessity, will come at a price. It is not just about the technical abilities of a fitting but the way the fitting is applied to achieve an atmosphere, effect or statement. Wertschätzung entails a holistic approach to space, of which light is a part and where the communication of the lighting concept has the same worth and quality as the architectural concept. In theatre, the lighting is informed by the story being told and the lighting designer works to a narrative. The same applies to a building; the lighting designer has to ‘create’ a narrative since it would be impossible to create a lighting design without a strong image or story of what the building will look like at night and what it will convey – essentially, build the concept that becomes the ideal the team is working towards. How does one take a client who has little idea about light to a stage where he or she understands the concept, the approach and the design language of light? Once there is this level of understanding, clients will be prepared to invest more because the concept has a value and they realise that only with a certain luminaire or product or arrangement, can the aim be achieved. Clients have to have an appreciation of what they are aiming towards, and lighting designers need to give them an understanding. Much of the work of lighting designers is with develop-

ers whose main aim it to get a building up and tenants in. In these instances, lighting becomes an engineering exercise. They need lighting and enough of it; there are codes and regulations, and the lighting has to be compli- ant. Budgets for these structures are defined by clients and quantity surveyors. Electrical engineers then tender and allocate a budget for lighting, without consulting a lighting designer. As a result of this approach an important element is missing and when the client realises something special could be done with lighting, it is too late as the lighting designer has not been part of the building process. There is a big difference between lighting architecture and light in architecture. Lighting designers light archi- tecture and if a lighting designer forms part of the team from the start, he or she, aware they are working under restriction, can identify the vital areas and plan how to make the space look impressive with less. By employ- ing ‘value engineering’ the designer can study the plan, rearrange certain areas, remove a spot here or there or use one wall fixture rather than two, stick to high quality luminaries with a good CRI and light distribution. In the final outcome, one spot can be more effective than seven. Success is ultimately in the detail and thought-through lighting design. This approach will also save costs and lead to energy saving. Nothing is more visible than light. Light is honest. If a building is unattractive it will look unattractive and if good, it will look good. Lighting will also highlight poor finishes and workmanship – it enhances what is there. The light- ing of a building should be the reserve of the lighting designer. Rather like the role of the architect who controls the spacial and operational aspect of a building the lighting designer should control the feel and the impact of light in a building. That demands an expertise an engineer is not qualified for. Engineering light is not the same as design- ing light. Engineered solutions are mechanically based whereas light solutions are optically and design based. As a profession, lighting design is relatively young and clients have to be educated around the idea of light shaping space. It is up to the lighting profession to help people understand the purpose and power of light. Light- ing designers have to show clients how their lifestyles can be enhanced, how a space can become atmospheric, and how the lighting industry in general can be unreliable. The products that are put into the market are not necessar- ily the best available. No one is forced to use a lighting designer, but when lighting designers are employed they are responsible for the quality of the space. If they do a good job, use good products and educate their clients, the outcome is win-win situation because the designer has created the space he has in his mind and the client understands the space designed and is happy with it ... effectively including the value of quality in achieving an aesthetic or, more put succinctly, Wertschätzung .


LiD FEB/MAR 2018

World’s first LiFi Lamp Oledcomm, the global leader in LiFi solutions, has introduced MyLiFi ® , the world’s first LiFi connected object available to the general public, along with its professional version, MyLiFi Pro ® , distributed in North America by Global LiFi Tech. A double award winner at the CES Innovation Awards 2018 in theTech for a better world and Smart Cities categories, MyLiFi ® is an LED lamp with a contemporary design by Pierre Garner of elium- studio. The lamp reinvents the broadband Internet connection with strong security and no harmful elec- tromagnetic waves. “This form of networking revo- lutionises Internet access, delivers unprecedented professional-grade privacy, and wireless networking without electromagnetic waves, a feature of particu- lar interest to the healthcare and office sectors,” said Global LiFi Tech CEO HacèneTedjini. Materialising the non-material “MyLiFi ® is next-generation lighting that goes be- yond the visible spectrum by providing easy, secure

Internet connectivity. We wanted to materialise the non-material with this ‘smart’ light. To achieve that, we’ve created a simple, pure object that makes technology disappear in favour of comfort and us- ability,” says industrial designer and eliumstudio partner Pierre Garner. The flexible MyLiFi ® lamp can be positioned to meet the user’s needs. Mobile and web-based apps provide control over brightness and colour temperature ranging fromwarmwhite (2200 K) to daylight (6500 K), allowing users to create their preferred ambience. Made of aluminium lacquered in pristine white, MyLiFi ® reveals its playful side with a colourful primary-colour cord in blue, red or yellow. Other variants and options are available with MyLiFi Pro ® for custom commercial or institutional projects. Highly secure Internet connection MyLiFi Pro ® , for the commercial market, offers fea- tures for optimal use in professional environments such as offices, stores, hotels, hospitals, museums and airports. MyLiFi Pro ® enables highly secure ac- cess control, not only through passwords but through encrypted data transmission between the lamp and the user’s device, protecting data security and con- fidentiality.Thanks to the LiFi dongle – a type of USB key – all devices, including computers, tablets and smartphones, can connect to the network instantly. The web and mobile app allows users to pro- gram and manage connectivity and lighting needs individually or in groups. Privileges can be set for groups of lamps, specific lamps or individual users. MyLiFi Pro®will contribute to the rise of smart cit- ies by improving technology used in tertiary buildings. The LiFi revolution LiFi – ‘Light Fidelity’ – technology, invented in 2005 by Suat Topsu, president of Oledcomm, is a new technology that enables wireless connections be- tween mobile devices and other networked devices using LED lights to carry data. More specifically, LiFi provides data transmission by imperceptibly modulating the light emitted by an LED light. The resulting data connection is ultra-fast, secure and free of harmful electromagnetic emissions. Light signals are received and converted into data by a LiFi dongle connected to the mobile device. “Just as clean energy is displacing fossil fuels and driving environmentally responsible innovation, light is displacing radio frequencies to provide clean, responsible connectivity. MyLiFi ® marks the begin- ning of a new era in networking,” said Oledcomm CEO Benjamin Azoulay.

Global LiFi Tech:


LiD FEB/MAR 2018

Illuminating for optimal effect In order to illuminate for optimal effect, it is essen- tial to rethink the lighting in your space. Much like clothing and interiors, one does not notice lighting when it is done right. But, when it is wrong, it stands out like a glaring headlight. There are a number of boxes to be ticked, or factors to be considered, when selecting the right lighting for a space. A chandelier can work in a bathroom and oversized pendants can be stun- ning in a kitchen nook, provided they form part of a considered approach to the overall lighting in the room. In-house lighting experts at Euro Nouveau have identified key points that need to be taken into account when selecting the right lighting for a space. Practicality Who wants practical when you can have elegant or luxurious?The fact is, the right kind of elegance is ultimately practical. First and foremost, the func- tion of lighting is to illuminate. Versatility can be as important as practicality, and both are found in the form of the Curling LED suspension lamp by Ger- man brand, Serien, which is available in a variety of sizes and finishes, and can be customised to complement the existing look and feel of a space. Practical meets playful in the Margaret table lamp by Fontana Arte.The lamp has a support bag, which holds it steady and can be placed on the back of a sofa, or anywhere that is comfortable. The Margaret is available in a variety of colours from an elegant black or brown to more playful and relaxed yellows, reds and blues. Use of space Space optimisation is one of the cornerstones of considered design. Start by asking what the space is used for: if the spare room doubles up as a home office then the lighting needs to follow

suit. Similarly, if the kitchen is the preferred spot for socialising then a layer of ambient lighting is essential to facilitate this. The Viisi by Panzeri is an excellent example of a lamp that makes efficient use of space. Available as a suspension or a floor lamp, the Viisi has a pentagonal section in folded and carved aluminium. The suspended version is ideal as part of a layered approach to lighting in a space, while the floor lamp can be used as a task lamp or for accent lighting. Its unusual form makes it a statement piece too. Timelessness Style never goes out of fashion and when it comes to lighting, opt for timeless over trendy. Timeless design has an aesthetic quality that makes it rel- evant for decades. It can be difficult to predict what designs will stand the test of time, which is why it is useful to consult an expert or opt for an item that already holds timeless status. Italian lighting stalwart Fontana Arte is known for designs that have stood the test of time. Per- haps not yet classic, but certainly embodying the features of a classic design, is the Pinecone sus- pension lamp by Paola Novane. The blown glass diffuser is made using the ancient technique of caged blown glass, and the end result is a classic aesthetic with an element of surprise. Artistry and opulence That lighting has a job to do does not mean it shouldn’t look good doing so. Almost all the pieces in the Euro Nouveau collection demonstrate some form of artistry, often with more than a touch of opulence. Importantly, functionality and practicality are never sacrificed to achieve this, which ensures the collection is in a league of its own.

Viisi floor lamp by Panzeri.

Euro Nouveau:

Curling LED suspension lamp by Serien.

Pinecone suspension lamp by Paola Novane.

Margaret table lamp by Fontana Arte.


LiD FEB/MAR 2018

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