Lighting in Design November December 2017

www.crown.co.za 11-12/17

Illuminated arches offer safer passage

PLC used for lighting control

Montreal's innovative lighting signature

Ed Space

T he changeover to LEDs in the past number of years marks one of the biggest ever shifts in the history of lighting design, and because of the gradual introduction of the ban on tungsten lamps, manufacturers and designers have been forced, in a comparatively short time, to adapt their lighting concepts in terms of technology and form. So say the organisers of Light + Building 2018, which takes place from 8 to 23 March next year (see article on page 24). As a result of this shift, LEDs have become a well-established standard; and creative novel approaches are emerging from this new perspective on light and lighting that would have been unthinkable until a few years ago. Designers and manufacturers no longer focus as much on the luminaire in the design process as, in a smart, experimental and modern way, on the light itself. The digital society of the future will make new demands on light and lighting: flexibility, individuality and digital control are equally relevant to lamp design. As a result, there are already a large number of lamp types that are integrated into the building-automation system or can be controlled via an app. Whether they are digi- tally networked or a stand-alone solution, their design is increasingly determined by additional functionality. The organisers of Light + Building explain that the society of the future will depend progressively on a digital lifestyle and, as is already the case with the smartphone, the technical complexity in lamp design will become increasingly invisible. In our November issue of Lighting in Design , just about every article bears testa- ment to this.The engineer on the AMG Performance Centre project wanted modular switching in linear lighting to achieve the lighting effect one has when driving a car through a tunnel.To create the effect, Regent Lighting’s Ronald de Lange incorporated a PLC to control the linear lighting. He says, “These fittings are showing how powerful lighting control is in terms of effects and visual stimulation and I believe that this is the start of new things to come”. The lighting installation at Sun International’s Sun Arena is DMX addressable and the RGBW spotlights that light up the curtain around the venue for effect have the same address system as the stage lighting and can, if necessary, be used for additional effect on the stage. In his article A roadmap for lighting smart cities , Amardeep Dugar lists eight ge- neric themes for urban lighting and the terms ‘smart’, ‘connected’ and ‘multimedia’ feature in regard to safety, sustainability, entertainment, innovation and design. Finally, the most connected bridge in the world, the Jacques Cartier Bridge, uses over 2800 intelligent LEDs attached to its steel truss structure to reflect the energy and pulse of Montreal in real time. The release from Light + Building 2018 ends by observing that we have an excit- ing time ahead of us. We certainly do and, on that note, Carin, Adel and I wish you all a happy and safe December break and all the very best for a sensational and prosperous 2018.

Editor: Karen Grant (crownmag@crown.co.za) Advertising manager: Carin Hannay (carinh@crown.co.za)

Layout: Adel JvR Bothma Circulation: Karen Smith Cover: Alice Lane Phase 111 Photograph by Natalie Payne. 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

ABC 2 nd quarter: 3 678 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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EDspace Editor’s comment.

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Lighting for an atmosphere of comfort and ease Alice Lane III is the final of three building complexes that surround and form a new 'green lung' and piazza in Sandton. Pamboukian lightdesign was com- missioned to design the exterior lighting. Article by Anthony Tischhauser. First of a kind lighting control for AMG showroom Lighting played a key role in the redesign of the AMG Performance Centre in Menlyn, Pretoria. Gregg Cocking looks at how Regent Lighting created innovative visual stimulation through light. The world’s most connected bridge Over 2800 intelligent LEDs attached to the steel truss structure of the Jacques Cartier Bridge are used to reflect the energy and pulse of Montreal in real time. A roadmap for lighting smart cities Urban planners must consider both general design principles and geo-cultural context when crafting lighting master plans. Amardeep M Dugar outlines the eight steps that make up the roadmap for lighting smart cities. Looking behind the scenes Lighting in Design spoke to Wolfgang Horlacher of Giantlight about the work the company has recently completed in Menlyn Maine.

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Free energy tremor LED Designed by Margot Krasojevi ć Architects, this LED light consists of a 3D printed net designed to give the illusion of intensifying emitted light.

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Osram to bathe St Peter’s Basilica in LED light The interior lighting of the Basilica is to be renewed and Osram, the company that provided the lighting for the Sistine Chapel, has been chosen for this task.

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Products

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Lighting for an atmosphere of comfort and ease

by Anthony Tischhauser, Pamboukian lightdesign

A lice Lane III is the final of three building complexes designed by Paragon Architects that surround and form a new 'green lung' and piazza in Sandton. Phase III, corner Alice Lane and 5 th Street in Sandton, Johannesburg, comprises multi-tenanted office space and retail space at street level, with several cafes and restaurants. The lightly terraced public space or piazza between the buildings links the three individual complexes that make up the Alice Lane Precinct on what was originally a steep site. It exploits the interstitial qualities that had been generated by the surrounding buildings (rather than enclose) to make the best of Johannesburg’s fine climate.This

generous public gesture was planned with foresight from the outset and taps into the buildings at differ- ent heights, but always at 'ground level.' Phase II was opened in 2016 and Phase I in 2013. It houses Virgin Active's classic Alice Lane Health Club on the corner of 5 th and Fredman Drive (see Lighting in Design 11/13). With no residential space far and wide, the piazza is hailed as a counter-contribution to Sand- ton's hostile treatment of the pedestrian. It is the second public space, bar Mandela Square which is tucked away, in the confusing monolithic Sandton Shopping Centre built with its back to the would-be pedestrian and the motorist too. Alice Lane Piazza

Photographs by Natalie Payne.

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The inner lying tower is 16 stories high.This slender feature the clients wanted emphasised. They also wanted the viewer’s attention bought to the two types of external glazing employed. The fritted glass for sun control would be washed by horizontal LED strips supported on brackets fitted between the glass panes.The other glass panels are clear vision elements both de- signed to balance light control. Linear graphic LED strips mark the joints between the two. Owing to the gentle geometrical angling of the surfaces, at night the lines communicate the sculptural quality of the carved block-like towers and send signals

of course serves corporate staff primarily, but it is destined to generate night life with its inviting atmosphere and beautiful evening views to the hills in the south. There is no doubt that it will become a favourite spot once Sandton eventually starts installing pavements and pedestrian ways. Abland, the client, commissioned Pamboukian lightdesign to design the exterior lighting for Phase III. Planned on an H-like plan with the higher of the two towers, 18 stories on 5 th Street, it occupies a key position on the Sandton skyline when viewed from afar and especially from the not too far off lower lyingWilliam Nicol Drive, a busy arterial road.

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necessary throw required to achieve the mottled gobo-effect and the custom made Linnebach Lan- terns are cable-supported at 3.5 m. The main approach to the piazza is from Alice Lane. A tall steel sculpture, Synapse, by Marco Cianfanelli marks it and the street entrance to the buildings. The steep flight of stairs from 5 th Street, though closed at night, was turned into an artwork by Lorenzo Nassimbeni. Landscape architect Karen Marais designed the sculptural water feature which adds charm to the piazza. The sparkle of the trick- ling water at night adds to this truly urban privately owned public space.

into the night sky. The surface wash was omitted for reasons of budget and complexity of installation. The two towers are linked by an 18 storey en- trance atrium. Over a cup of coffee with the archi- tect, Paul Pamboukian sketched a lighting concept for the atrium which was executed by others. The floating but stacked horizontal sails of soft light and the irregular coves convey an atmosphere of ease and comfort, especially against the undisturbed sky. The piazza, which extends under the buildings, is not flood-lit but given a feel of light filtering through trees. It complements the shadows of the trees by day. Nine metre high custom-made poles give the

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First of a kind lighting control for AMG showroom The AMG Performance Centre in Menlyn Pretoria has recently undergone a redesign of its sales showrooms with lighting designed to fit the AMG brand identity. Lighting played a vital role, and Regent Lighting Solutions employed a first-of-its-kind technique to create innovative visual stimulation through light. Gregg Cocking reports.

M arco du Plessis, architect at ARCA Un- limited, the architects responsible for the design, explains that the brief called for the existing Mercedes-Benz Lifestyle Centre to receive an interior and exterior upgrade to the new modern luxury standards of Mercedes-Benz, including a new AMG Performance Centre with a public restaurant as part of the extension to the existing building. ARCA Unlimited is a multidisciplinary South- African firm and has provided a variety of built envi- ronment services since 1995. Its expertise includes architecture, interior design, brand environments, object design, project management and procure- ment services. Every project is led by an individual

responsible for all aspects of the project (in the case of this AMG project, it was Marco du Plessis). As lighting would play a key role in the project – in fact, the brief stated that the lighting design should place the emphasis on the vehicles and life- style rather than the building itself – the appointed engineer, Barend van den Berg, Ingplan Pretoria, approached Regent Lighting Solutions with the idea of modular switching in linear lighting to achieve the same lighting effects as if a car were driving through a tunnel. “With a background in automation I immediately thought of incorporating a Programmable Logic Controller (PLC) to control the lights,” says Ronald de Lange, electronics and automation engineer at

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Regent Lighting Solutions. “By using a 24V dc PLC and 24V dc LED boards we could signal each board to switch on at the desired time by programming it.” The project features a number of programmable Linear Minis suspended alongside each other with a customised lighting sequence that is programmed for each linear independently. The fittings are 4000 K LED, with lengths ranging from 800 mm to 9800 mm. Other interior fittings supplied include the Viola Pendant 800 mm 25 W LED 4000 K and the Jura 1005 track mounted 36 degree beam 4000 K 40 W LED, adjustable. The completed lighting design is a first-of-its-kind as PLCs are generally not used in lighting control. “These fittings are showing how powerful lighting control is in terms of effects and visual stimulation and I believe that this is the start of new things to come in terms of mixing industrial and building automation,” says de Lange, pointing out that he is currently busy with a second installation for AMG where they will again be trying something new. “The power of a PLC is amazing,” he enthuses. “An entire building can be programmed with a PLC system to monitor the power entering the building, monitor the power factor, start a generator and per- form a power switchover. Lights can be controlled in different areas of the building via DALI and the DALI controllers can receive signals from the PLC to select different scenes,” he says. Furthermore, with every light connected to a PLC, it is easy to see which fitting has failed and the emergency gear can even be setup to do self-testing. The possibili- ties are endless. “Elsewhere in the project, the lighting design is balanced between accent light and ambient light, creating a stage atmosphere in some areas and subtle, general lighting in others,” says du Plessis. The lighting was designed not to impede on the audio-visual displays and to be comfortable during daylight hours and at night. By using energy effi- cient fittings, the impact on the environment is re- duced. Exterior fittings supplied by Regent included the Brite 130 In-Ground 14 W LED 4000 K with a 30 degree beam angle and a 220 V integrated controller, as well as the Shuttle trunion 18W LED 4000 K wide beam.

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“The redesigned sales showrooms of the Mercedes-AMG Performance Centres boast a con- sistently applied and unique AMG brand identity,” says du Plessis, looking back at the completed project.This sentiment is echoed by de Lange, who concludes, “After being part of this project, I feel that new ideas are not explored and put to the test often enough. At Regent Lighting Solutions we are given the freedom to design and create our ideas, and the finished project at the AMG Performance Centre in Menlyn is testament to what can be achieved by thinking out of the box.” About the PLC “The main control method used at AMG is PLC (Programmable Logic Controller). PLCs are found most often in Industrial Automation as they are robust components that are used to program machines by sending signals to different parts of the machine telling them what to do, when to do it and how fast to do it,” explains de Lange. A PLC was the most cost effective control method for achieving the desired effect in the showroom as it operates and sends 24 V dc signals. “By using 24 V dc LED boards we were able to use the PLC signals to provide light,” he says. Slender lines of light set in an architectural environment are the essence of the Linear Mini, and with its simple elegance and adapt- ability it accommodates most design applica- tions. The extruded aluminium housing offers a precise in-line appearance that complements open space design plans. Each Linear is split into boards in sections of 100 mm. Each board receives its own signal cable that runs back to the control panel, and this is done to have control of each 100 mm section. The PLC is then programmed to give each board a signal at a specific time.The effect the client wanted was for the light to be a length of ±1 m and flow through the fitting. The direction of the motion and the speed of the pattern is all ad- justable, so client can decide on the pattern and change it at any time by programming a new sequence.

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The world’s most connected bridge

A n iconic architectural feature of the Mon- treal skyline by day, the Jacques Cartier Bridge now illuminates the night sky with an innovative lighting signature that celebrates the engineering of its historic structure. Thanks to intelligent programming connected in real-time to big data and social media networks, this bridge is by most measures the most connected bridge in the world. The bridge – known for the eight finials which resemble the Eiffel Tower on top of its four main columns – comes alive every night and changes constantly, in synch with Montreal’s seasons, weather, traffic and social media activity. A flagship project for the city’s 375 th and Can- ada’s 150 th anniversaries, the illumination of this steel colossus was a major challenge. The project unites the bridge with the city and its citizens by combining expertise in civil engineering and large-scale project management with the creative talent of Moment Factory and six world-class local design firms. The idea behind the concept, Living Connections, is for the Jacques Cartier Bridge to reflect the en- ergy and pulse of the city in real time through the use of over 2800 intelligent LED lights attached to the steel truss structure. An iconic landmark by day, the bridge takes on a new life at night. As the sun

sets, intelligent LEDs on the exterior of the bridge bring light, movement and data to the structure. Over the course of the night, these features tell the evolving story of Montreal and its ongoing rhythms. The energy of Montreal is represented through a subtle play of light on the bridge’s exterior digital ‘skin’. For 52 minutes each hour, the bridge pulses with the city’s social conversations as tracked on Twitter in real-time.The intensity, speed and density of these light fragments changes depending on how often Montreal-related hashtags are liked and shared. Viewers create a unique coloured spark by sending a tweet directly to the bridge’s dedicated hashtag #illuminationMTL. On every hour, at night, short eight-minute animations create a big data-driven show that visually translates Montreal’s activity and mood based on different types of daily data: the weather, traffic, news, major events, and more. This chang- ing content makes the bridge a true barometer of Montreal life. The bridge also changes hue with the seasons thanks to a 365-colour calendar. Day after day, the bridge’s ‘heart’ gradually changes from an energis- ing spring green to a radiant summer orange, a voluptuous fall red, and finally an icy winter blue. Like the forested mountain after which the city is

Jacques Cartier Bridge interactive illumination (render). Sunset to dusk: At dusk, when the sky is dark enough to display the full power of the lights, the bridge comes to life in a four minute dance of light, climaxing with a reveal of the new colour of the day. Photo credit: Moment Factory.

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Photo credit: MomentFactory

giant, it is 600 m long and contains 15 650 tonnes of steel, the Eiffel Tower by comparison is 300 m in height and contains 7300 tonnes of steel. Over 250 participants from all pro- fessional backgrounds worked on the bridge’s lighting for more than two years (creatives, engineers, lighting designers, project managers, programmers, rope access technicians, steelworkers, electri- cians, traffic officers, and more). Sensors

installed on the bridge track vehicle, bicycle and pedestrian traffic, as well as wind speed, wind direction and precipitation levels. Big data collected from Montreal through 53 data points and classed into 11 categories is con- solidated into each hourly show and up to 500 light points, representing the most recent and most-liked tweets, circulate simultaneously on the bridge’s skin. Two thousand eight hundred and seven (2 807) lights, a combination of projectors and tube lighting, illuminate the steel superstruc- ture to reflect the activity of the city. The estimated minimum lifespan of the en- ergy efficient LED lighting technology is 50 000 hours;10.4 km of cabling was required to illuminate the bridge (for data transfer and electrical power)

named, the colours change gently with the sea- sons, the light subtly evokes the passage of time as an enduring artistic expression that reflects its surrounding ecosystem. Lighting is directed to four areas of the bridge’s steel superstructure: piers; turrets; interior core or ‘heart’; and exterior facade or ‘skin’. A soft light- ing is directed inwards towards the ‘heart’ of the structure, minimising light loss and distractions to vehicles. The dynamic lighting of the exterior ‘skin’ is directed outwards towards the surround- ing metropolis Facts about the installation: The Jacques Cartier Bridge has been a Mon- treal icon for close on a century. A true iron

Jacques Cartier Bridge interactive illumination (render). Midnight show.The bridge bursts into full life to signify the changing of the day. With a new day comes a new colour so the bridge cycles through all 365 colours of the chromatic calendar searching for its new identity. It explores wave after wave of colour until finally, the bridge has its new look for a new day. Photo credit: Moment Factory.

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Photo credit: The Jacques Cartier and Champlain Bridges Incorporated.

Photo credit: Moment Facotry.

traffic, news and social media, each hourly show is generated in real-time and is totally unique. The ever-changing content makes the Jacques Cartier Bridge a true barometer of Montreal life. The bridge opened to great fanfare earlier this year with an inaugural celebration that included a light display to showcase the programming features of the lighting system. Project team: 1. Art concept created by multimedia studio, Mo- ment Factory, in collaboration with six Montreal multimedia and lighting studios: Ambiances Design Productions, ATOMIC3, Éclairage Public / Ombrages, Lucion Média, Réalisations and UDO Design. 2. Project management by The Jacques Cartier and Champlain Bridges Incorporated. 3. Engineering work done by the consortium WSP–AECOM. 4. Lighting system installation by Pomerleau. 5. Lighting technology by Lumenpulse and Philips Lighting.

and 10 000 mounting systems were used to secure the lighting fixtures to the steel supports on the bridge (about five per light). Interaction with social media Real-time interactive mode with social media is 52 minutes each hour. Twitter users can interact directly with the Jacques Cartier Bridge, causing a point of light to appear from one of the bridge’s ‘towers’ and move across the bridge’s skin. Two real-time social media feeds are used: Tweets making reference to Montreal (e.g. #montreal); and tweets addressed to bridge-specific hashtags (e.g. #illuminationMTL). Two distinct colours are used to differentiate the tweets for Montreal from the tweets for the bridge. Up to 500 light points, rep- resenting the most recent and most-liked tweets, circulate simultaneously on the bridge’s skin, before the oldest and least popular gently fade out. The eight-minute hourly show is based on big data collected fromMontreal.The bridge translates urban big data collected from sensors over the course of the day and updated every hour, into a se- ries of eye-catching data visualisations. Pulling from a wide variety of data sources, including weather,

Photo credit: Moment Factory.

Photo credit: The Jacques Cartier and Champlain Bridges Incorporated.

Photo credit: The Jacques Cartier and Champlain Bridges Incorporated.

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A roadmap for lighting smart cities by Amardeep M Dugar

T he Smart Cities Mission is a globally col- laborated urban renewal and retrofitting programme undertaken by the Government of India. Its goal is to develop more than 100 citizen- friendly and sustainable cities that are safe and sophisticated. One key component for any smart city, of course, is urban lighting. Lighting has an overall impact on the orientation, safety, use and visual quality of urban night time environments. While fulfilling technical and security requirements – facilitating movement and illuminating dark areas – lighting also serves basic social and aesthetic functions by influencing how cities are used and perceived by their people. Comprehensive urban lighting schemes, also known as urban lighting master plans, have had very successful outcomes in various cities across the world such as Glasgow (Scotland), Jyväskylä (Finland), Lyon (France), Mel- bourne (Australia) and Vancouver (Canada). Research [1,2], however, reveals that merely adapting successful urban lighting design blueprints of other cities, as opposed to discovering the needs and preferences of the local citizenry, is not always the best approach.Therefore, the planning of smart cities requires academic research identifying those generic urban lighting best practices that are appli- cable across all smart cities. Additionally, academic research is also required to identify specific quali- ties pertaining to each smart city so as to meet all its segmental requirements. Three fundamental questions arise while design- ing the lighting of smart cities [3]: What qualities of urban lighting are critical to establish inviting public realms within smart cities? How should urban-lit elements be generically perceived and interpreted by people so as to be termed as smart cities? What recommendations can be offered for the development and coordination of urban lighting master plans for smart cities? Several resources exist for lighting planners.The Smart Cities Readiness Guide [4] is a collaborative and comprehensive framework put forward by the global Smart Cities Council, against which cities can assess their readiness to innovate – identifying a

path, taking next steps and measuring progress. In addition, a research report [5] has identified eight generic themes for urban lighting by reviewing international lighting master plans, municipal docu- ment analysis and systematic self-observation of a study area. From both these sources, a roadmap for lighting smart cities can be developed.The road- map provides a conceptual framework for lighting strategies that unite key aspects of smart cities such as safety, superiority and sustainability. The eight steps follow here: 1. Provide identity and character Lighting should first provide a baseline identity for all smart cities, and second emphasise the distinc- tive character of each city.The baseline identity can be created, for example, through differentiated luminaires or luminance colours that set apart key neighbourhoods. Highlighting the history, legacy or topography of the city with lighting can then emphasise its distinctive character. 2. Preserve image and elements Lighting should identify and preserve key urban elements that are associated with the image of these smart cities such as gateways, landmarks and views. Luminaire locations can be prioritised and mapped to correspond with the locations of these identified elements. Noting where and where not to place luminaires will enable the preservation and protection of these elements while facilitating their night time use by the public. 3. Integrate sustainable and smart Luminaires should seamlessly integrate smart and sustainable technologies. For example, energy- efficient light sources can be integrated with interactive (timers, proximity and motion sensors) or wireless communication (Bluetooth) systems that respond to user activities within public spaces. The level of detail to which this technological in- tegration is addressed can be purely dependent upon the cultural and local perceptions towards environmental stewardship.

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4. Juxtapose dark and light Lighting should recognise the benefits of con- trasting dark and lighted spaces. Darkness serves important functional and aesthetic purposes such as protecting nocturnal habitats that thrive in dark- ness or require natural solar patterns to survive, and creating a sense of mystery or drama in open spaces by amplifying lighted spaces. Lighting can therefore be designed around darkness to enhance and modify peoples’ perception of urban features at different times of the day. 5. Reduce pollution and trespass Designers should be mindful of the negative im- pacts of light pollution, trespass, glare and sky glow. Appropriate luminaire designs such as downward facing, shielding or full cut-off angles can restrict excess luminance on the ground, as well as light spill into the sky. Use of multipurpose utility poles or luminance from the ground floor retail establish- ment windows can also limit the need for additional street and pedestrian-level luminaires. 6. Encourage art and installations Lighting should encourage and explore the use of state-of-the-art multimedia tools for infusing colour, sound, motion and art into the public realm. Luminaires could be purpose-designed and built to either support temporary art installations or them- selves become a part of the larger urban furniture as art tools. Dynamic mediums such as luminous colours, displays, laser, etc., can draw interest, off- set overcast conditions or even combat unattractive environments, thereby transforming the way these cities are perceived and used at night. 7. Balance connectivity and safety Connected lighting should increase the ease of use while balancing the perceived safety of public realms such as parks, squares, transportation routes for pedestrians, bicycles, etc.While sensor- packed urban luminaires come with huge concerns over their incessant data collection, informing citizens about what their data is being used for and why, can be a way of tackling this ‘big brother’ syndrome. 8.Advance innovation andmonitoring The urban lighting realm should be advanced by monitoring existing installations to better under- stand where improvements can be made and innovation applied. A variety of techniques can

be used to gain public support, build interest and increase the civic value of lighting. These include working with local socio-economic players to de- fine area-specific features or promoting a unified image for luminaires, providing necessary training to city technicians or manufacturers for monitoring existing installations, and encouraging innovative luminaires for new development projects. Much more than watts This roadmap shows that lighting for smart cities is about creating desirable habitats for humans, flora and fauna, and not just saving energy. Therefore, detailed design objectives for urban lighting have to be instituted at the planning stage. Extensive public consultation is also required to ensure the inten- tions of the lighting master plan are materialising and meeting the needs of the citizens. The author Amardeep M Dugar, PhD, IALD, Member IES (2011), SLL, is founder and principal of Lighting Research & Design, Chennai, India. References 1. Ünver A. People’s experience of urban lighting in public space. Middle East Technical University, Ankara, TURKEY; 2009. 2. Casciani D, Rossi M. ELSE, Experience of Lighting Sustainability in the Environment. In: Cumulus 2012. Helsinki, FINLAND; 2012. 3. Dugar AM. Urban lighting masterplan – a step towards creating smarter cities. In: India Interna- tional Science Fest (IISF 2016) –Young Scientists Conclave. New Delhi, INDIA; 2016. p. 127-8. 4. Berst J, Enbysk L, Ebi K, Cooley D, Peeples D, Caine C, et.al. Smart Cities Readiness Guide: The planning manual for building to- morrow’s cities today (Internet). Redmond, WA USA; 2015. Available from: http://smart- citiescouncil.com/system/files/main/premi- um_resources/Readiness-Guide-V2-8-24-2015. pdf?file=1&type=node&id=2532 5. Paskovic A. Urban lighting: Planning for Public Spaces in Vancouver’s Southeast False Creek. Queen’s University, Kingston, ON CANADA; 2012. This article was first published in the September 2017 issue of LD+A and is reprinted with the kind permission of the Illuminating Engineering Society of North America.

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Looking behind the scenes From design to manufacturing to installation, Giantlight has been at the forefront of lighting, and more specifically solid state lighting, in South Africa for many years. Much of the company’s recent work has been at Menlyn Maine’s Sun International Times Square Casino and the Times Square Sun Arena and, with both these projects now completed, Lighting in Design spoke to Wolfgang Horlacher about the work the company undertook in these two venues.

H orlacher describes the lighting of South Af- rica’s second largest casino as a “mammoth task”. It occupies an entire city block in the Menlyn Maine precinct in Pretoria, and is situated directly opposite the Sun Arena and alongside the soon to be completed MaslowTime Square hotel. The key design features of the casino gaming floor, by Gabriël Hugo of LYT Architecture, were the ‘spider web’ of colour changing pendants above both gaming floors (see Lighting in Design 06/17 ) and the infinity mirrors. “The spider web,” says Horlacher, “consisted of nearly two kilometres of colour changing light fittings suspended five metres above the ground. It was designed to respond to various triggers, from cues in an advertisement played on the public address system to the bonanza that comes with a jackpot being won”.

It was a complex installation: each of the lengths of the colour changing fittings came with its own five-core cable, which ran up to 100 m to the various control rooms around the gaming floors. It was a “cabling nightmare” that required hours of labour. That done, the next task was to synchronise the 395 individual pieces that made up the ‘web’. Digital Multiplex (DMX) was used to control the fixtures and enabled the users to synchronise the lighting over the two floors. Horlacher explains that while colour-changing lights were a familiar concept for Giantlight, the infinity mirrors certainly were not. “We had to create optical illusions by using two different types of mirror, one that allowed passers-by to see through, and a standard mirror on the other side. This resulted in whatever was between the

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explaining that, more often than not, it had to be installed at various angles to ensure seamless cor- ners. “The nature of the ceiling installations meant that none of this could be pre-manufactured in our factory and all 500 m was supplied in component form to the installation team.” The main entrance to the casino is striking, from the clockwork façade surrounding an illuminated arch to the mirrored ceiling surrounding an infinity mirror four metres in diameter. Falcon Shopfitters manufactured the arch and surrounding clockwork while Giantlight was tasked with lighting it. The arch itself measures nine metres across (from base to base) with a circumference of 14.25 m. There are three light boxes inside the arch, one on each face seen by the public and, combing the three light boxes, over 300 metres of cool white strip light. The ceiling in the main entrance is reinforced as practically every square metre of it supports a sheet of mirrored steel. Interlaced throughout the mirrored steel is 614 m of cove lighting with the infinity mirror in the centre. It is made of the same components as its smaller kin in the gaming floors – windowpane extrusion and two types of mirrored Perspex. But, while the smaller mirrors used just over 4 m of extrusion and 1.5 m 2 of mir- rored Perspex, this mirror used just over 32 m of extrusion and 25 m 2 of mirrored Perspex.

two mirrors repeating endlessly.”While the feature mirror in the casino’s entrance is round, there are 72 other fittings in the shape of triangles scattered throughout the gaming floors; these required 300 m of extrusion in double paned windows and 105 m 2 of mirrored Perspex. In total, 790 spotlights were used to illuminate the gaming floors and create islands of light around the slot banks and onto the tables.The specification for this lighting was strict and in line with all Sun International casinos, i.e., a colour rendering index of 90 and a colour temperature of 2700 K. Once the lighting installations for the gaming floors had been completed, the lighting for the walkways around the gaming floors and between the restaurants and surrounds had to be addressed, and necessitated filling hundreds of square metres of bulkhead. This space required 1582 recessed, dimmable downlighters, 425 m of blue cove light- ing, 500 m of recessed linear (which ironically was rarely in a straight line and often required on-site shop-fitting) and over two kilometres of warm white cove lighting. Edison Power Group (EPG) was tasked with installing the 2373 pendant spotlights and downlighters as well as all the back of house lighting on top of pulling the kilometres of cable that was required for the installation. Horlacher says that the recessed linear was the most challenging part of the perimeter lighting,

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Venue for live entertainment The newly opened Sun International Sun Arena seats 8500 people and is set to host some of the biggest music concerts in South Africa.The ground floor of the venue has retractable seating and can double up as a conference venue, while the balance of the seating is fixed and raked upwards from the stage. The height from ceiling to floor in the venue ranges from 4 m at the top of the seating plan to 18 m on the ground floor, and Giantlight had to accommodate this in the design. To ensure uniform light levels throughout the theatre, four models of the MegaLED Bay down- light (60 W, 120 W, 180 W and 240 W) were used. The downlight, an existing product within the company stable, was remodelled to include an antiglare snoot and a trunnion arm and to remove recessed trim. One hundred and eighty six Mega- LED Bays were suspended from the grid above the ceiling for what, in essence, comprised two installations. The first was the 240W, 5000 K work lights that bring the light levels in the arena to 500 lux and also serve the conference space; while the ‘second’ installation was for house, or hospitality, illumination, which provides light on the theatre's seats and aisles for the audience before and after performances and during intermissions and these consist of 60 W, 120 W and 180 W 2700 K units.

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The installation is DMX addressable. Edison Power installed the MegaLED Bays, and Giantlight un- dertook the DMX address setting and testing. Pro Sound was responsible for final commissioning and programming.The result is that each and every light fitting can be addressed individually if required – and is dimmable from 100% to 1%. Nineteen RGBW spotlights under the catwalk light up a curtain for effect and, because they have the same address system as the stage lighting, can be used for additional effect if required. The spotlights and the pendants in the public circulation areas, the lights in the ablution facili- ties, the blue cove lighting and the under counter cove lighting in the bar areas were all undertaken by Giantlight. The lighting installations in the two venues are vastly different with the Arena being a largely functional installation and the challenge coming with volume rather than design and installation. The only themes that are carried from the casino design are the façade, which changes colour, the blue cove lighting and the black raw ceilings.

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Bringing you the l:IGHTER SIDE

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Passionate about global lighting trends and dedicated to providing clients with world-class quality and variety, Eurolux is one of South Africa's leading importers of innovative lighting from around the globe.

Mas e rlo H?06

LUMINAIRES • LAMPS • ELECTRICAL • AV

CapeTown (HeadOffice): 9Racecourse R<)<)d, Mllnerion, 7441 I Tel: +27 (0) 21 528 8400 I Email: lnfO@eurolux.co.za Johannesburg: 10Milkyway Avenue, linbro Business Park, Sandton, 2065 I Tel: +27 (0) 11 Ci-08 2970 I Email: jhb@eurolux.co.za

www.eurolux.co.za

Free energy tremor LED Designed by Margot Krasojevi ć Architects, the free energy tremor LED consists of a 3D printed net whose recycled polymer geometry is elastic yet strong enough to stretch and reform when subjected to tremors and shifting changes in its immediate environment. Because of the dome shape which channels the light around the surface of the semi-transparent ge- ometry, the net is designed to give the illusion of intensifying the emitted light. The project was commissioned for the Gao family hotels in Ordos, Inner Mongolia and Beijing. The main body of the light acts as a moveable piston intensified by the harmonic oscillating motion of the weighted 3D printed net as it stretches and expands. When charged, the LED is a bright 60-candela white light visible for three metres in a darkened room. A main structural thread pipe is at the core of the LED – this can be inserted into the ground for stability. The threaded pipe holds a series of magnets and a copper coil used to induce an electric current.The 3D printed net resonates and amplifies kinetic energy, transforming it into electrical current that lights the series of LEDs embedded within the geometry: the principle behind this is electromagnetic induction. All reverberations within the vicinity of the light induce a current by moving the magnets through the copper coil placed within the main structural thread pipe. The net’s spiral envelope is constructed from a flexible recycled polymer whose geometry intensifies its displacement, moving the magnets inside the supporting thread pipe to create a current that can either be stored or dissipated immediately by lighting the LED. The light is being adapted so that the inner surface of the 3D printed net is coated with copper. This will strengthen the magnetic field causing it to induce a higher and more constant electric current that lights the LED. Also under consideration is the application of a piezoelectric zinc element to produce a current strong enough to light a 9 V LED.

Margot Krasojevi ć Architects: www.margotkrasojevic.org

3D printed spiral shaped dome diffuse. (Photo credits: Margot Krasojevi ć ).

Seismic LED.

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Light + Building 2018: lighting for the modern world The changeover to LEDs in the past few years marks one of the biggest ever shifts in the history of lighting design. Because of the gradual introduction of the ban on tungsten lamps, manufacturers and design- ers have been forced, in a comparatively short time, to adapt their lighting concepts, not only in terms of the technology, but in terms of form, too. After a few years of ‘transition’, LEDs have become a well- established standard; and creative new approaches are emerging from this new perspective on light and lighting that would have been unthinkable until a few years ago. As a result, designers and manufacturers are no longer focusing as much on the luminaire itself in the design process, but rather, in a smart, experimental and modern way, on what is most important: the light itself.

ist, geometrically shaped lamps create modern, restrained accents in living spaces.

Additional functionality: digital and flexible The digital society of the future will make new demands on light and lighting: flexibility, indi- viduality and digital control are equally relevant to lamp design. As a result, there are already a large number of lamp types that are integrated into the building-automation system or can be controlled via an app. Whether they are digitally networked or a stand-alone solution: their design, that key factor for success, is increasingly determined by additional functionality.There are hardly any lamps now that do not offer some unique ‘benefit’: some are digitally networked, others provide coloured light; some are sophisticated constructions with weights that keep the lamp balanced; there are those with touch sensitivity or a charging function; others offer a high degree of flexibility through individually movable modules; and there are handy little rechargeable lamps, that provide spontaneous lighting anywhere. An exciting future This modern use of the interplay of light, its reflec- tions and the shadows it casts, and the use of trans- lucent materials and experimental lighting are still all just in their infancy. Designers and technicians are increasingly involved in the development of organic lighting diodes (abbreviated to OLED) and also in the use of light as a medium for digital applications and data transmission.The society of the future will depend increasingly on a digital lifestyle and, as is already the case with the smartphone, the technical complexity in lamp designwill become increasing in- visible.What matters first and foremost are function- ality, the impact of the lighting and self-explanatory individuality in use. We have, therefore, an exciting time ahead of us – for in the process of this devel- opment, the role of design will, increasingly, be to respond appropriately to people’s emotional need for comfort, creativity and aesthetics. Light + Building 2018, which takes place from 8 to 23 March 2018, will be focusing on present- ing the latest design trends in the lighting market. The spectrum of products at the world’s leading trade fair in its field covers, amongst other things, designer lamps in a range of styles, technical lu- minaires and lamps of all sorts and kinds and for all applications, together with a large selection of technical lighting components and accessories, and including outside and street lighting.

Light over luminaire ‘Form follows function’ – this design maxim is gain- ing new significance in the face of today’s techni- cal possibilities, combined with trends in modern society and design. Whilst, until a few years ago, lighting design was still concerned with devising decorative models to create sculptural accents, luminaires can now be seen to be receding into the background. Lamps have, in the main, become minimalistic in form and reductionist in design, with colour and materials adapted to the credo of restraint. Lighting itself, on the other hand, has achieved more powerful effects than ever – through colour, directional streams and reflections or the creation of artistic shadows.This continues a trend in which the light is no longer directed in streams or from a visible source. The body of the lamp serves principally as a ‘housing’ for the technical essentials, as well as a physical component across which light becomes visible in a diversity of facets. Interplay of opposites: organic or geometrical The visualisation of light is a trend which will undoubtedly continue in the coming years. Nev- ertheless, lamps remain, as they have always been, decorative objects, too, and their design a reflection of the times. Rather as in the field of furnishings, lighting design concerns itself with the interplay of opposites: natural materials such as wood, bronze, glass or paper are paired with the latest lighting technology, which is often hidden in a variety of archetypal lamp shapes and types. Qual- ity, naturalness and a pleasant lighting effect are at the forefront of concerns. In what is, actually, only an apparent contrast to this, the trend for formally severe geometry continues. In times when straight lines and comfort are no longer contradictory, but are combined as a matter of course, reduction-

Light + Building 2018: www.messefrankfurt.com

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Ceiling space, St Peter’s Basilica (Photo credit: Vatican).

Osram to bathe St Peter's Basilica in LED light Saint Peter's is the largest church in the world and the centre of Catholicism. The Governorate of the Vatican City State and the office of the Fabric of Saint Peter have chosen Osram LED technology to renew the interior lighting of the Basilica. The new lighting will illuminate the interior in all its magnificence, power and architectural complexity. Innovative LED fittings will create an experience similar to that provided by the illuminations installed in the Sistine Chapel in 2014, while giving energy savings of around 85%.

mosaic decorations, is a treasure trove of some of the most famous works of art in the world, such as Bernini’s Baldacchino, and Michelangelo's Pietà. The lighting can be adjusted to the occasion when the building is in use.The new lighting system will accentuate the properties of the materials used and the building itself, highlighting the plasticity of the structure, its marbles and its architecture.

The choices have been made in consultation with the Technical Ser- vices of the Governor- ate of the Vatican City State, the office of the Fabric of St. Peter’s and art experts from the Vatican Museums. The lighting and instal- lation project should be complete by Christmas 2018.

Osram lighting systems have already proven their value with the illumination of the Sistine Chapel, the Raphael rooms and St. Peter's Square. In the case of St. Peter’s Basilica, the lighting project will combine the professional skills of the Technical Services Departments of the Governorate of the Vatican City State and Osram's advanced digital lighting technology. “We won worldwide recogni- tion for the cutting-edge LED lighting system we installed in the Sistine Chapel,” said Olaf Berlien, CEO of Osram Licht AG. “We are very excited about this new opportunity to demonstrate our skills as a provider of complex, large-scale light- ing solutions by conducting the lighting project in St Peter's Basilica.” St Peter’s Basilica can hold a congregation of 20 000 people, and is around 190 m long, the three naves each 58 m wide, the central nave 45.50 m at its highest point, and the cupola about 136 m high up to the cross at its peak; the interior, with its vast

OSRAM: www.osram.com

St Peter’s Basilica (Photo credit: Vatican).

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Aurora launches new SOLIS spotlight Aurora Lighting, part of the Aurora Lighting Group, has unveiled the Solis, a new spotlight specifically designed and engineered for the retail, restaurant and hospitality sectors.

cutting through the high ambient light levels found in most stores and allowing retailers to direct cus- tomers to chosen displays. The Retail Halo allows replacement of one beam for the other without reducing overall ambient light- ing levels, useful when so many schemes rely on the accent lighting to provide background ambient light. Reflectors are interchangeable without tools, and the spotlight rotates 340°, its head swings 90°. It is easy to adjust the fitting, and change beams, making it easy to create a focused scheme. Avail- able with CRI 90 on request, the Solis is provided with a five year warranty. Ensuring high energy saving LED products that also offer a bespoke look and feel, Aurora rolls out global projects across five key verticals: retail, hospitality, commercial, industrial and residential. Through providing the full service, from design and manufacturing to aftercare from its Swindon facility, Aurora is one of the few lighting companies that offers a high quality ‘made in the UK’ product.

Created to accommodate the requirement for a neat, compact aesthetic solution, the Solis features a design with a small arm, which is just 32 mmwide, and was created following extensive customer research and feedback. It is available in fixed and 1-10 V dimmable versions with narrow, medium, wide and extra wide beam angle options. Having provided a full lighting project service for more than 30 years, Aurora assists retailers, restaurateurs and hoteliers with all aspects of their lighting schemes, from bespoke product tailoring and intricate lighting designs to installation and aftercare. The new Solis, which is aesthetically pleasing in design, is ideal for presenting a modern look and feel within retail, restaurant and hospitality appli- cations. From product design to development, all carried out at Aurora’s UK Swindon manufacturing facilities, it provides an efficient light output of up to 100 lm/W, backed by a lifetime of more than 50 000 hours (L80). It also features a retail reflec- tor with hot spot and halo, a colour temperature range of 3000 K - 4000 K and can either be track or ceiling mounted. Anna Enright, Head of Product Management, Projects, at Aurora Lighting, says “We’ve been working on this product to accom- modate customer demand for a spotlight that is unique in shape and came up with a visual that has been well received. The short arm allows a small profile against the ceiling, giving minimal impact on the interior design, exactly what was missing in the market.” Using the 1-10 V dimmable solution, the spot- lights can be dimmed to generate the precise light levels needed, whilst consuming minimum energy. A single part number can be ordered and then used throughout the scheme, set to create the desired ambience in each area. This delivers continuity of overall aesthetics, whilst simplifying the sup- ply chain for the end user. Connected to daylight sensors, any track of luminaires near natural light sources can be dimmed when background light is fading so displays remain highlighted, but operating costs per year are reduced. Schemes can also be changed to enhance specific areas during seasonal or special promotions. Solis has a choice of narrow, medium, wide and extra wide beam angles. The narrow and medium angles contain Aurora's Retail Hot Spot and Halo. The Hot Spot delivers an intense beam of up to 22 000 candelas at peak (for only 28 W, 2700 lm),

Aurora Lighting: http://auroralighting.com/za

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