Lighting in Design Q1 2019

www.crown.co.za Q1 - 2019

Video and lighting combine at Rosebank Link

The rapid growth of horticultural lighting

The MARC: a new urban landmark

Ed Space

L ast month I attended an IESSA meeting in Northriding, Gauteng. The presenta- tion of the evening, ‘Augmented reality & the lighted environment’ was by Retief Coetzer from BEKA Schréder who is passionate about the topic, having envisioned – and then driven – the process to create a first in the world Augmented Reality (AR) app for street lighting applications. He started by explaining that augmented reality is when digital information is overlaid onto the actual physical world. It’s not changing reality, its augmenting some of it the way you want it. Two years ago AR was new even to Coetzer, but it is now predicted that with the fourth industrial revolution, in a short five years everyone will interact with AR in some way in their day-to-day lives – on some sort of device. Tim Cook, current CEO of Apple, says of AR that, “Once it arrives, it will be everywhere. I don’t think there is any sector or industry that will be untouched by AR. The real difference between virtually reality (VR) and AR is not the immersive aspect, but that we will use AR in our everyday lives, where we live, learn and work. It will become as much a part of our day as eating three meals.” Coetzer showed a number of videos to illustrate how AR is currently being ad- opted by industry in applications ranging from 3D visualisation and AR in surgery in the medical field to a Ducati motorcycle engine being manufactured with the as- sistance of AR. “Projectors tell the person assembling the engine what to do next, with colours highlighting whether or not they are doing it right, negating human error in production lines,” he noted. He pointed out that benefits of AR include it being immersive and accessible by all – smartphone sales grew by 12.4 percent year on year in South Africa in the first quarter of 2018. “Most importantly for me,” he said, “is that it is educational and easily understood, as you can explain a concept so much easier visually.” Lighting to the lay person can be difficult to comprehend, especially when trying to explain certain terms and ideas, such as photometry, polar diagrams, lux, candela per square metre, isometric and symmetric distribution. “I believe AR will play a vital role in educating clients by explaining certain terms visually and making it more im- mersive. ARwill enable manufacturers and designers to reach people who have never known that lighting is a ‘thing’ and miss it only when it’s not there,” said Coetzer. To round off the evening BEKA Schréder’s AR app was demonstrated. It allows users to augment reality, in real time, by placing scaled models of the company’s products and poles in any environment, indoors and outdoors. Users can see differ- ences in photometry and how light is perceived by switching the products on and off in the augmented reality environment. Coetzer, however, believes we are just scratching the surface and that there is much more to come; “AR is an inescapable fact. Get used to it.” Lighting in Design will be exploring this topic in depth in our next issue. In the meantime, however, in this issue we present other exciting lighting developments including the rapid rise of specialist horticultural lighting as well as an innovative lighting installation at Rosebank Link, which features a 124 m 2 LED video screen that ties in with a strip screen display that forms part of the building’s exterior lighting. Editor: Gregg Cocking (lighting@crown.co.za) • Advertising manager: Carin Hannay (carinh@crown.co.za) Layout: Adel JvR Bothma • Circulation: Karen Smith Cover: The MARC, photograph by Byron Lottering 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 4 th quarter: 3 475 • Printed by: Tandym Print All issues of Lighting in Design can be viewed on our website. Visit www.lightingindesignmagazine.co.za Gregg

1

LiD Q1 - 2019

IN side ...

EDspace Editor’s comment.

1

Rosebank Link The Rosebank Link now features a dramatic 124 m 2 full-colour LED video screen that has been custom-designed and engineered to be an integral part of the building’s fabric, and to contribute to the edifice’s striking appearance. The MARC The MARC, located in the ‘Golden Square Mile' of the Sandton CBD, has created a new urban landmark and transformed the character of the surrounding neighbourhood on street level by activating a vibrant, pedestrian-friendly public domain. 37 Commerce Crescent The rehabilitation of existing buildings is often the ‘greenest’ solution. An example of this approach is the 37 Commerce Crescent renovation project in Kramerville, where the lighting concept ties in with the architectural language of the building. Horticultural lighting Horticultural lighting is the industry's hottest newmarket, revolutionising the future of farming with technologies and innovations enabling year-round sustainable crop cultivation. Hospitality lighting A hotel is a temporary home away from home. It conveys a feeling of wellbeing and is characterised by a special air of hospitality. The design of its rooms and their materials, colours and lighting all make a decisive contribution to achieving this effect. Residential lighting Lighting is often an overlooked element in a room’s design – even though it is one of the most important, particularly in a multifunctional space like a child's room. News A round up of the latest industry lighting news, including new LED floodlighting for a prestigious school’s hockey field, a smart solution for a Swarovski showroom and the latest installations, fittings, and lamp designs from abroad. Products New releases from EuroConcepts and Spazio Lighting. Yves Saint Laurent Museum The recently inauguratedYves Saint Laurent Museum in Marrakesh presents itself as a veritable jewel of contemporary museum architecture.

4

8

1 2

1 4

1 6

2 0

2 2

2 4

3 2

3

LiD Q1 - 2019

A first for South Africa as video and lighting blend at Rosebank Link

Johannesburg’s Rosebank has long been known as a cosmopolitan, trend-setting district, but now it’s not just the street fashion that’s turning heads.

O pposite the Gautrain station on the Oxford Road thoroughfare, the iconic Rosebank Link building features the future of display advertising. Billboards on the sides of buildings are nothing new, but in the past they have always been added after the fact. Thanks to a collaboration between Paragon Architects, the building owners and digital display services company Primary Colours, the Rosebank Link now features a dramatic 124 m 2 full-colour LED video screen that has been custom-designed and engineered to be an integral part of the building’s fabric, and to contribute to the edifice’s striking appearance. The installation features two distinct elements. The first of these is the LED screen, which is note- worthy for being one of the largest in South Africa. The second is the strip screen display that forms part of the building’s exterior lighting. The largest of its kind in the country, the strip screen display can be controlled and manipulated remotely. Rather than being composed of individual lights, it is made up of narrow strips of video screen. “Using new DigiLED technology, we’ve been able to create an exceptionally flat screen that of- fers maximum viewing angles to pedestrians and drivers using this major city artery,” explain Primary Colours directors Ashendra Singh and Grant Neill. “With no off-angle colour shift, the new screen offers advertisers a way to tell their stories in the most impactful way possible,” they add. With HD 720 resolution and the ability to display 16 million colours, the complete screen measures 18 m wide and 7 m high (1 728 pixels wide x 745 pixels high). Geometric-pattern cladding was used to underline the fact that the screen is an authentic part of the building’s fabric.

While the screen itself represents cutting edge technology, it is arguably the building’s strip light- ing (attached to the Rosebank Link via watertight perforations in the building façade) that is the most exciting aspect of this project. Most impressive when viewed at night, the ribbons of coloured video displays are designed to reflect from the building’s edges, giving a more harmonious wash effect. This smart lighting has a total length of 226m, and stretches across 15 floors of the building. Initial concept The original concept for the building included a screen and the architect came up with a basic sketch and sent it to Primary Colours. “The architect had drawn the screen in the shape it is now, and everyone was saying that it wouldn’t work because it wasn’t rectangular,” says Neill. “A rectangular screen would not have looked as aesthetically ap- pealing up there, and the budget being put forward wouldn’t have paid for it.We re-looked at the costs and in the end the size of the screen was reduced to what it is now.” Primary Colours then came up with the idea of tying in the lighting with the content on the screen, and had a sister company, Flying Circus, model the building in 3D, including the screen and strip lighting. “I took it to a client meeting and they were blown away with the idea.The notion of tying lighting into video content isn’t as easy as it sounds, however, as there are effectively two video systems running off the same piece of content, taking the predominant colours of the advert and washing the building with them.” Although the architects were initially against the idea, fearing that the building would “look like a Christmas tree,” the client pressed on and when it was finally installed the architects were impressed.

4

LiD Q1 - 2019

Technical challenges of the installation “The most critical technical problem we had was placing the power supplies and video controllers as they were not IP rated. We had to mount them in- doors and take the signal and power cables through the façade,” Neill explains. “There are 38 individual control boxes installed through the building from first parking level up to the 15 th floor,” continues Singh, “and each of them had to be cabled to each other as well as to the control room at the parking level. As the façade was designed to be waterproof – and we were making holes through it – running the cables through waterproof grom- mets and having the installation signed off by the engineers as being watertight was a bit tricky. To give you a sense of the job, it took two years of work to plan the installation with the engineers and main contractors, while the installation took two months. It is the most complex job we have done to date.” The installation wasn’t hassle free either; “The entire lighting display had to be installed using rope access because the paving wasn’t yet laid. We trained a team of people to install the lights and sat at the bottom of the building with a pair of binoculars watching them,” laughs Neill. “The wiring map was essential at this point as each power supply could run a maximum of 9 m of lights.” He notes that future maintenance will also be performed by rope access, “but we don’t run

the strip lights during the day or at full brightness all the time, so theoretically they could run for 20 years,” he says. Environmental issues, such as LED exposure to UV rays were taken into consid- eration, and while in certain cases the architects opted for directly viewable lighting, in others the lighting is recessed and used to create a wash over the façade. The screen itself was bought from a British company, DigiLED, and was chosen for its viewing angles. “It is a very high end LEDwith additional UV protection,” explains Neill. “It is also very efficient and is equipped with light sensors which detect the ambient light and adjust the brightness to suit the time of day.” As for the future, the duo believe that the trend of building owners trying to generate revenue from their buildings via screens is set to continue. “It is very difficult to add a screen to a building once it has been built though,” points out Singh. “Luckily architects are starting to design buildings with screens in them from the initial concept. What is valuable for architects is that they are no longer limited to rectangular screens.” Neill believes that Africa is still very far behind, but that there are signs that the market is catching on, “We have just done the first intrinsically curved screen in the country, at Fourways Mall, and I think that digital display technology will become more of a norm as architects see the possibilities”.

5

LiD Q1 - 2019

Architecture The project comprises a total rentable area of 18 744 m 2 of office area and 1 553 m 2 of ground floor retail area. At 15 storeys above ground, the building consists of two basement parking levels, a ground floor public/retail level, five parkade levels, and nine storeys of offices from the podium level. “The building showcases the corporate values of the client, which we achieved by our finely-honed ability to value engineer and design without the monotony often associated with corporate office design,” says Paragon Senior Project Architec- tural Technologist Warren Wesson. “As a building standing foremost in the centre of a developing cosmopolitan area, it was important to have a design that served the needs of the client and its neighbours, as well as the public, in a new, exciting, and smart way.” The east and west façades consist of a com- posite aluminium-clad shell with articulated strip

windows to allow light and views to filter into every office module. These faceted façades have a visual quality emphasised by the articulated strip windows, which transform from day to night. The flush-glazed north and south façades allow for uninterrupted views over the greater urban area of Rosebank. The backdrop to the façades is a smooth and glossy flat finish that transforms itself into the underbelly of the building. The organic vaulting architecture of the underbelly raises the building from the ground, allowing users to traverse an unimpeded thoroughfare between the Gautrain Station and the shopping area. At the heart of the building is a multi-storey enclosed, north-facing atrium fashioned to capture the sunlight filtering down into the fluid underbelly of the ground-floor thoroughfare. This creates a conduit for a combination of green walls and in- digenous planting brought to life in executive roof gardens, podium-level gardens, and parkade wall gardens that allow for a tranquil environment not normally afforded in multi-storey buildings. Wesson notes that the building has been designed, and will be operated, in an environmen- tally sustainable manner. Passive building design techniques and environmental considerations will ensure a Four Star Green Star rating, creating a healthier and more productive environment.

PROJECTTEAM ARCHITECTS: Paragon: www.paragon.co.za CONTRACTOR: WBHO: www.wbho.co.za PROJECT MANAGERS: Betts Townsend: www.bettstownsend.com QUANTITY SURVEYOR: MLC: www.mlc.co.za STRUCTURAL AND FAÇADE ENGINEER: Sutherland Engineers: www.sutherlandengineers.com

ELECTRICAL ANDWET SERVICES ENGINEER: CKR: www.ckr.co.za DIGITAL DISPLAY COMPANY: Primary Colours: www.primarycolours.co.za MECHANICAL ENGINEER: Adaptive Resource: www.adaptres.com GREEN BUILDING CONSULTANT: WSP: www.wsp.com

www.primarycolours.co.za

6

LiD Q1 - 2019

Creating visual impact The MARC, located in the ‘Golden Square Mile' of the Sandton CBD, has created a new urban landmark and transformed the character of the surrounding neighbourhood on street level by activating a vibrant, pedestrian-friendly public domain.

J ohannesburg’s brand new retail and office complex, named for its location in the heart of South Africa’s financial district, is on Maude and Rivonia Corner in Sandton. The project’s archi- tects, Boogertman + Partners, wanted to build a facility that reflected the area’s fashionable, modern and energetic atmosphere. Developed by Eris Property Group, the former ‘VillageWalk’ is now a mixed-use development that comprises two office towers, a two-level retail cen- tre with everything from fashion outlets to eateries, gym to medical suites. The design facilitates a shift to transparency and pedestrian traffic through large, wide urban staircases, generous pavements, public benches, hard and soft landscaping, and artworks. Three entrances flow through the two floors of retail and gym, above which are the towers: a 12-floor ovoid tower, the Jewel, boasting a gold-and-black façade designed to contrast with the predominantly

blue and clear glass Sandton skyline and a 17-floor tower occupied by legal firm ENS. Parking is ac- commodated in 6.5 basement levels. The office buildings create visual impact on a busy intersection while allowing for physical and visual connections to the retail and podium components using an urban staircase and on grade access points. The overarching concept of open access and transparency has been maintained in the retail design by curved glass shop fitting, softly lit arches and skylights connecting visibility and light with ease of mobility. With multiple entrances from both Maude and Rivonia streets, and no barriers restricting entrance, the precinct is easily acces- sible from the street and surrounds. Increased foot traffic positively influences all retail tenants and, combined with the landmark destination, adds significantly to the employee value proposition for commercial tenants.

8

LiD Q1 - 2019

Developing a lighting scheme Creating a lighting design for a project that encom- passes three separate buildings, fell to Regent Light- ing Solutions (RLS). RLS does a significant amount of work with Claasen Auret and Boogertman + Partners, and was approached when it came to the specialised lighting required for the project. The project wasn’t conventionally lit because much of the lighting sup- plied was in the form of a linear fitting – kilometres of it – going around corners, fitting into narrow gaps, running all the way down offices. RLS also provided linear façade lighting in the recessed balconies. One demanding challenge was designing fittings to go into slatted aluminium which had already been speci- fied. In cases like this, it would have been beneficial for all parties to meet at the start of the project and consider the design together, but since RLS is a local manufacturer, it was able to make the project work". Another challenge for RLS was meeting fairly complicated lighting requirements within a short timeline, as well as providing the correct lux level out of very small profiles. As RLS’s lights are efficient, they had to, in certain areas such as the restaurants and entertainment areas, dim the lights as they were too bright. “However, despite incredibly short timelines and a complicated manufacturing process, the end result speaks for itself, and, by all accounts, according to RLS designers, everyone is happy with the outcome.”

9

LiD Q1 - 2019

Feature lighting RLS was asked to create a suspended fitting with a bi-directional light source that would create an attrac- tive feature on the ceiling and provide the required functional light output on the floor. The fitting is cylindrical and suspended at three points and the internal wall of the cylinder had to be gold in colour. “This was a truly unique fitting, locally designed and custom manufactured specifically for the client’s requirements,” says Byron Lottering, marketing coordinator at RLS. As the MARC has multiple entrances and stair- ways, a special request was made for a linear light source that mimicked the right angles of the stairways, and portrayed a sense of direction, thus the Linear Inca was supplied. The upper level stairway and escalator landings are supplied with custom Jura 1002 24W36°, track mounted in a recessed cavity in the ceiling, while the lower level and basement parking landings feature Nexio recessed downlights at 24Wwith a 50° beam. Within the main shopping mall, stairways between various levels feature recessed Floren 30 W fittings. Here the architect wanted to use a different profile; the Inca has a recessed diffuser – offering lower glare – and its click-in system makes it easy to work with. The retail space itself, where RLS worked closely with Pamboukian lightdesign, provides shoppers who live and work in the nearby Sandton area with conve- nient shopping, restaurants and a gym.The entrances to the mall are lined with the Argo post top from RLS, leading from the street towards the entrance overhang. The overhang is highlighted by suspended Aldos up to 4.2 m with an ‘up and down’ light source. “The project also has a glass roof with support beams that required a high output fitting that would blend seamlessly into the design,” says Lottering. To meet this requirement, the Floren 30W 1500 lm was supplied. It is also recessed into wooden slatted ceil- ings throughout. Elsewhere, recessed into the ceiling edges above the interior passage and walkways is an adapted black 24W Jura 1002 track light. Linear mini fittings in RGB create ambience in the restroom pas- sages within the mall, while the parking and basement levels are lined with Shuttle wall mounted fittings. Externally, the landscape surrounding the precinct features numerous fittings in different applications, including the Shuttle trunion mounted 18 W fitting on an 11 m pole, as well as in all planters throughout the building. Miso recessed wall lights provide low level lighting on the stairways and low level boundary walls, whilst the 16 W Malta Bollard plinth mounted at a height of 700 mm in all planter and lawn terraces provides pathway lighting. “For key amenity lighting throughout all landscape areas at the MARC, we used the Argo Post top 54 W,” concludes Lottering.

PROJECTTEAM ARCHITECTS: Boogertman + Partners: www.boogertman.com DEVELOPER: Eris Property Group: www.eris.co.za TOWN PLANNER: Urban Innovate: www.urbaninnovate.co.za FAÇADE CONTRACTOR: Geustyn & Horak: www.g-h.co.za QUANTITY SURVEYOR: AECOM: www.aecon.com STRUCTURAL ENGINEER: Aurecon Group: www.aurecongroup.com PROJECT MANAGERS: SIP Project Managers: www.sippm.co.za ELECTRICAL ENGINEER: Claasen Auret: www.cai.co.za MECHANICAL ENGINEER: Spoormaker and Partners: www.spoormaker.co.za SUSTAINABILITY CONSULTANT: WSP Green by Design: www.wsp.com LIGHTING DESIGNERS: Pamboukian lightdesign: www.ppald.com

10

LiD Q1 - 2019

Lighting concept complements architectural language in sustainable renovation In an age of sustainable or responsible architecture, the rehabilitation of existing buildings is often the ‘greenest’ solution. An example of this approach was the 37 Commerce Crescent renovation project in Kramerville, Johannesburg, undertaken by architecture and interior architecture company Paragon.

T he project was the rehabilitation of an existing industrial building into a retail and showroom development. “The decision by the client to recycle the building had merit, but did complicate the project,” Paragon Architect KimNewell explains. The original building was a two-storey warehouse with a steel roof. During demolition, the steel roof structure was disassembled, and an additional floor added to increase the Gross Lettable Area (GLA). The roof structure was then re-installed. The result is a multi-tenanted retail space with the upper floors containing larger tenants while the lower ground level is divided up into spaces for smaller tenants. The building layout was designed so the floor plates could be divided to accommodate at least two tenants per floor on the upper ground and first floors. Currently, the upper ground floor is let to a single tenant, but provision has been made for services and smoke-extraction systems to accom-

modate two tenants on this floor should this be required in the future. The larger tenant spaces have balconies for out- door functions. On the top floor the balconies provide open-air spaces for tenant functions and exhibitions. The upper ground floor balcony also provides a secluded outdoor retreat in an open-air setting. Newell points out that the architectural design drew inspiration from its industrial setting. Concrete was used for the structural expansion and off- shutter concrete used as a textured façade material. 37 Commerce Crescent is the second building to be built in the precinct. Off shutter concrete was used in the design of its predecessor, the adjoining Casarredo building, and the material will be re-used throughout the precinct to continue the aesthetic. Once complete, customers will have the opportunity to visit a variety of tenants in a pedestrian-friendly precinct. The use of simple, yet powerful, volumetric

12

LiD Q1 - 2019

forms contributed much to the appeal of the build- ing. The building’s materials drew inspiration from its industrial setting; its simplistic envelope and the respectful approach to materiality set up a new language for the developing precinct. The rough off-shutter concrete walls of the street façades are offset against large, flush-glazed windows. Concrete allowed for extensive uninter- rupted spans and large expanses of glazing, which created generous display windows facing the street, ideal for the showroom function. “We worked within a tight budget and a short eight-month construction period, but managed to transform the building. The off-shutter concrete contributes to the play of light on the facades, whether sunlight or LED lighting at night. Internally large, airy spaces have been created that provide for spacious showrooms,” Newell elaborates. The lighting design strategy for the project was to come up with a lighting concept that tied in with the architectural language of the building, says Newell, and as such, linear LED strip lights were used in various ways to pick up on the architectural form, for example, strip lights concealed in the entrance stair handrail illuminate the expanded mesh balustrade at night and add additional indirect illumination to the spaces. “We worked within budget and used energy efficient light fittings. External uplighters illu- minate the building at night which allows for a play of shadow on the rough concrete facades. Natural light was incorporated wherever possible,” she notes. All the tenant spaces have large shopfronts and strip windows for natural light, while an opaque skylight above the main entrance stair allows natural light to filter into the open air foyer from above. “Our focus was on the common areas of the building. The individual tenants were responsible for lighting their own spaces,” Newell says. “Our lighting supplier tested to ensure the required lux levels were achieved and battery back-ups have been provided on lights along escape routes to

ensure that in the event of an emergency these routes remain illuminated.” Newell believes there is a direct relationship be- tween good lighting and howa space is experienced, and that natural light positively affects user experi- ence. ”Naturally lit internal spaces enhance the user experience of a building and reduce the amount of interior lighting required for retail spaces during the day. Natural light increases the quality of space in the showrooms while the expanse of the shopfronts allows tenants to create large window displays.” The façade The detailing of the façades had economic and prac- tical advantages. The use of face brick produced a façade structure and final finish in a single material. The brick façades were stained black to achieve the aesthetic intent while remaining maintenance free for the building’s lifespan. The brickwork is punctu- ated by full height strip windows which afford views of the city to the south and allow natural light into the showroom spaces. By using a traditional building material – the brick – in an unconventional way a new aesthetic is achieved. An abstract pattern, formed out of recessed bricks, which runs down the face of the building, gives the façade a tactile quality. This ap- proach articulates the texture of the exterior and in- terior of the building.The façade, when experienced from the interior, echoes an inversion of the texture. The textured brickwork is experienced internally from an industrial steel staircase in an open-air foyer lit with opaque polycarbonate skylights. The steel staircase, which provides access to the tenants on the first floor, references another traditional industrial material used in an unconventional way. Expanded metal infill panels were used for the balustrades, with LED strip lights in the handrails. The journey up the staircase allows the user to experience the textured brickwork up close. Performance glazing was used to reduce the solar heat gain on the façades, and to reduce the energy consumption costs of heating and cooling the building. Insulation installed below the roof sheeting will reduce heat gain in summer and heat loss in winter. The concrete façades add thermal mass to the building. LED lighting was used throughout to reduce energy consumption even further.

PROJECTTEAM CLIENT: Alchemy: www.alchemyproperties.net ARCHITECTS: Paragon Group: www.paragon.co.za STRUCTURAL ENGINEERS: Pierre Badenhorst Engineers: www.pbe.co.za MAIN CONTRACTOR: Astek FIRE ENGINEERS:TWCE: www.twce.co.za MECHANICAL CONSULTANT: Corporate Technical Services: www.corptechserv.co.za

ELECTRICAL CONSULTANT: Ernest Corporate Electrical WET SERVICES CONSULTANT: Jazzman Plumbing

13

LiD Q1 - 2019

YSL Museum detaches visitors from daylight

The recently inaugurated Yves Saint Laurent Museum in Marrakesh presents itself as a veritable jewel of contemporary museum architecture. The interior of the monolithic brickwork construction, designed by Studio KO, surprises with its dramatic exhibition concept referencing the theatre and stage. ERCO LED lighting technology installed in a walk-in black box enables the tones and textures of the iconic haute couture models of Yves Saint Laurent to blossom.

M arrakesh, located in the south-west of Morocco, is famous for its houses painted in all possible tones of pink, red and terracotta.The exterior of the long, low building complex of the Yves Saint Laurent Museum pays homage to this typical colour palette with its ter- razzo base and artistic brick facade, and also to the typically Arabian architectural tradition of shielding the interior from the road. In the relief-like facade, the architects from Studio KO celebrate the com- plex plays of light and shadow below the southern sun. Inside you will find an exhibition space com- pletely in black – a black box that accommodates the key works of the creative genius Yves Saint Laurent and a scenographic concept that celebrates the opulence and diversity of the haute couture designs of the fashion designer who passed away in 2008, and was one of the most influential cou- turiers of the 20 th century. Fifty selected robes, skilfully illuminated, confront visitors to the pitch- black darkness – clothed on mannequins assuming the appearance of protagonists on a theatre stage. The French architect and scenographer Chris- tophe Martin who designed the exhibition of the newmuseumwas personally acquainted withYves

Saint Laurent. In 2005 Martin designed the first exhibition (dedicated to the famous first trouser suit for ladies, ‘le smoking’, from 1967) as well as around 15 further exhibition projects commissioned by the fashion designer and his partner Pierre Ber- gé.With the presentation in theYves Saint Laurent Museum in Marrakesh, he provides an extensive insight into the life and work of the couturier who came to Morocco for the first time in 1966 with his life partner and business partner Pierre Bergé, and who also decided spontaneously to purchase a house in this city.The ‘red town’ became his home away from home in Paris – and his most important source of inspiration. Christophe Martin purposefully intended not to present a classic retrospective. On the contrary, he sees the progress through the main exhibition space designed completely in black as resembling a trip through the mind and spirit of the creative genius – and exemplarily brings together selected iconographic models taken from four creative decades (1961 to 2002) along with jewellery and accessories to create an emotional, highly coloured and diverse display. For conservation reasons, dif- ferent haute couture models from the Fondation

Photo credits: © ERCO GmbH, www.erco.com, photography: Christian Schaulin

PROJECTTEAM CLIENT: La Fondation Pierre Bergé – Yves Saint Laurent ARCHITECT: Studio KO: www.studioko.fr SCENOGRAPHY & EXHIBITION DESIGN: Christophe Martin: www.christophemartinparis.com LIGHTING DESIGN: I.C.O.N.: www.icon-lighting.com LIGHTINGTECHNIQUES FOR SCENOGRAPHY: Sébastien Debant

14

LiD Q1 - 2019

Pierre Bergé collection of over 3 000 pieces are displayed at regular intervals. In this way the filigree beauties are not unnecessarily burdened in their exposure to the visi- tors and public at large. In terms of lighting and also for conservational considerations, the decision was taken for LED technology. Akari-Lisa Ishii, the lighting designer who transformed Christophe Martin's scenographic concept into LED lighting tools from ERCO explains. "LEDs do not generate any heat or UV radiation, which is a very important aspect when illuminating sensitive and valuable textiles." Those entering the foyer of the museum from the road and through the slender corridor between brickwork walls and the entrance courtyard, flooded with sunlight and embellished with a six-foot YSL logo (effectively displayed by two beamer projectors following the onset of twilight), are guided right towards the main exhibi- tion space. At first glance visitors experience complete darkness. "The contrast between bright and dark and between exterior and interior was an essential factor in designing this space," says Christophe Martin. "Detached from daylight and their surroundings, visitors find them- selves in a completely different universe – in the world of Yves Saint Laurent." As an eye-catcher in the entrance, the famous ‘Robe Mondrian’ from 1965, accented with two Optec LED contour spotlights, appears to float towards the visitors from the depths of darkness.The dress with its geometry and colour design is akin to an exclamation mark within the black box. The 50 models exhibited on mannequins here are displayed in thematic groups that serve to il- lustrate the most important subjects of Saint Laurent's creative oeuvre.Textures, embroideries, flounces and the draped textile plies of the robes are crisply and three- dimensionally enhanced thanks to accented lighting from the Optec contour spotlights – even those of the black gowns on black backgrounds. This method of lighting that lends a sense of drama to the presentation hints at Christophe Martin's attachment to the world of theatre. Following his architectural studies, he worked for over 12 years in close cooperation with the renowned American director, theatre producer and video artist RobertWilson on stage setting for the opera and theatre. High visual comfort is exceedingly important, not just for visitors to operas and theatres but also for museum visitors. The highly precise ERCO LED lighting technology enables such high levels of visual comfort within this exhibition and also avoids any form of glare. "For me, light is the most important building block in any scenography," explained Christophe Martin. "This perfect illumination of individual exhibits within an exhibition is essential for the impact of the complete presentation." Contour spotlights create a colour explo- sion in the black box

15

LiD Q1 - 2019

The growth of horticultural lighting

Horticultural lighting is the industry's hottest new market, revolutionising the future of farming with technologies and innovations enabling year-round sustainable crop cultivation.

T he revolution in horticulture is a seismic shift that will fundamentally change howwe grow plants – and it’s all down to lighting.Thanks to the properties of LED lighting and major advances in our understanding of plants, we are now able to tune light in order to boost yield, customise plant characteristics and maintain plant health. At a basic level, horticulture is relatively simple. Given the right soil, temperature, moisture, and lighting conditions, horticulturalists should be able to cultivate plants anywhere. The lighting compo- nent in this formula is much more complex than replacing natural light with an artificial light source. Plants require lights with specific spectral charac- teristics, including concentrations of light within the appropriate wavelength bands to facilitate plant photosynthesis. Green plants require greater amounts of light in blue and red wavelengths, but have other wavelength requirements between those two bands. Before the advent of LED lighting, horticulturalists were unable to generate artificial light that met all wavelength requirements for optimum plant growth.

luminaire, and LEDs are the most energy efficient solution available. In addition to most common top lighting applications where luminaires are placed at ceiling level, LEDs can be used closer to plants because of their lower heat radiation. This allows luminaires to be installed much closer to plants to create more dense farms vertically. Mixing differ- ent colour LEDs allows better matching of the light spectra for each species and the stage of growth of the plant. With LEDs the luminaires also have a longer lifetime and lower maintenance needs. Optics, on the other hand, help focus the light/ photons onto the plants, allowing either greater crop yield and shorter growing cycles or reduced luminaire bill of materials (BOM) costs. Having uniform light and spectral distribution also helps to produce healthier and more productive plants. Focusing light energy where it is needed gives greater photosynthetic photon flux density (PPFD) with less power. The greenhouse use case for LEDs is primar- ily as a supplementary light source to the sun, although artificial lighting is increasingly vital during the colder and shorter days of winter. Cannabis also requires greenhouse-like space where plants can grow vertically. Most legal cannabis growing opera- tions are indoors, and require electrical fixtures as the primary light source. Where LEDs are having

The use of LED The power consumed when converting electricity into PAR photons determines the efficiency of the

16

LiD Q1 - 2019

the greatest impact, however, is in growing leafy greens and herbs that only reach heights measured in centimetres and that can be grown in layers or racks with each layer having a dedicated set of LED luminaires relatively close to the plants, again enabled by little to no heat radiated by the LEDs. The layering assists so-called urban or vertical farms to occupy relatively small growing spaces inside buildings near population centres, while optimal lighting and technology – including hydroponics – enable faster plant/harvest cycles than can be achieved outdoors. Challenges in horticultural lighting There are, of course, challenges in any emerging technology and perhaps evenmore so in LED-based horticultural lighting where experience with SSL technology is still shallow. Lighting manufacturers based in Asia have tar- geted the market with what are often affordable but low-end products. However, many of the low-end products on the market lack pertinent certification. Many growers, especially in the cannabis sector, have suffered losses – because of poor fixture per- formance – in early attempts to deploy LED lighting. However, documented benefits of LEDs in horticulture continue to grow, and include the Mi- rai lettuce farm in the city of Tagaj ō in Japan. GE Lighting developed customised LED lighting for the farm. Mirai worked with GE to develop LED lighting tuned to the lettuce growing cycle. The Japanese Ministry of Economy,Trade and Industry

Horticultural lighting terms Photosynthetic photon flux (PPF): This comes from the total amount of photosynthetically active radiation (PAR) that has the most effect on how strong plant growth will be. More PPF means more photons and more power, and this value is easily measured and used as a parallel to lumens. Photosynthetic flux density (PPFD): How many of the photons hit their target, and this can be related to lux levels. Top lighting – Greenhouses: Illumination of the hall and plants from ceiling level. Top lighting – Vertical farming: Illumination from the top of the plants at a close distance.

Intra-canopy: Illumination on the side or in-between the plants.

(METI) encouraged the use of technology on the farm, which uses customised sensors and control systems for all aspects of the agricultural environ- ment. The partners say the result is 50% better plant production relative to fluorescent-lit farms along with a 40% reduction in energy usage. The farm occupies 2300 m 2 of floor space and there are 17 500 LED lights in use. The lettuce is

17

LiD Q1 - 2019

GrowLED Maxi

Horticultural lighting in South Africa South African lighting manufacturer, Giantlight, is at the forefront of horticultural lighting in South Africa and has recently released two products specifically catered for this market; GrowLED Maxi and Megaledbay GrowLED. The Megaledbay GrowLED offers broad spectrum white LEDs with far red on a separate, switchable circuit with a pendant cable with a clutch for easy suspension and height adjustment. Specifications include: * Lens type: 4 mm Polycarbonate * Supply voltage: 230 V ac 50 HZ * Total circuit load: 100 W plus 10 W when far red is activated (110 W total) 200 W plus 20 W when far red is activated (220 W total) * Lumens: 100 W – 13 600 lumens for broad spectrum white 200 W – 27 200 lumens for broad spectrum white * IP rating: IP 65 * Control type: Standard - no control, on or off 1-10 V control available * Body construction: Powder-coated mild steel. Available in SS on request.

grown in cultivation racks to maximise the use of high ceilings. The result is a 10 000-head daily harvest. The success of the project has led to en- quiries from interested parties across the globe and has the partners looking to develop other LED-lit farms in Japan. Key questions to ask when designing horticultural lighting: Does the light generate enough, and the correct ratio of, photons? Are the valuable photons going where they are needed, and how efficient is the luminaire at gen- erating those photons? When it comes to the future of horticulture, LED lighting offers a more robust food supply. And there are no doubt other advantages that have yet to be discovered. Sources: www.ledil.com; www.ledsmagazine.com; www.specgradeled.com

DMX control available DALI control available * Power factor: Better than 0,97

GrowLED Maxi specifications: * Body construction: Powder-coated mild steel. Available in SS on request.

* Lens type: 4 mm Polycarbonate * Supply voltage: 230 V ac 50 HZ Total circuit load: 408 W 430 W – With far red * Lumens: 59 560 (Broad spectrum white) * IP rating IP 65 * Control type: Standard – no control, on or off

1-10 V control available DMX control available DALI control available * Power factor: Better than 0,97

www.giantlight.co.za

18

LiD Q1 - 2019

Honeycomb Modular LED

Giantlight (PTY) LTD Tel: +27 11 704 1450 / +27 82 451 5506

169 Bush Telegraph Rd, Northlands Business Park North Riding Gauteng South Africa www.giantlight.co.za email: otto@giantlight.co.za; wolfgang@giantlight.co.za

Lighting hotel environments

A hotel is a temporary home away fromhome. It conveys a feeling of wellbeing and is characterised by a special air of hospitality. The design of its rooms and their materials, colours and lighting all make a decisive contribution to achieving this effect.

T he lighting of a hotel affects the entire visitor experience; hospitality lighting solutions leave a lasting impression and de ne a hotel concept which makes it easier for operators to stand out from the competition. Lighting that can be adjusted to suit guests’ preferences and moods at the press of a button, while at the same time reducing the environmental impact, are in high demand. Lighting in Design spoke to Conrad Wagener from Cape Town-based Illumina to find out more about the current trends in hospitality lighting. Illumina is a supplier of branded light fittings and a manufacturer of specifically designed lights for commercial, hospitality and industrial lighting. Hospitality clients include hotel groups such as The Leading Hotels of the World, Radisson, and Kerzner International. LiD: Have you noticed any new trends in hotel lighting? CW: Lights for the hospitality industry often cor- relate with a specific design intent.Trends are usu- ally restricted to colour and form and, as far as my understanding goes, longevity of the design is key. LiD: In your opinion, what are the main factors to consider when planning lighting for a hotel environment? CW: Lighting levels are most important in creating the moods and scenes required. A lighting scheme consists of many factors since different areas require different types of lighting, for example, public open

spaces such as restaurants and lounges; rooms and hallways; etc. Lighting efficacy is important as higher lumen outputs reduce power consumption. LiD: How do you maintain a lighting concept through the numerous spaces in a hotel? CW: A lighting scheme is managed through the integration of a lighting system that communicates with the lighting controllers. DALI (Digital Address- able Lighting Interface) is a good, widely employed, communication system.The DALI dimming method is an open protocol, which means software develop- ers can employ the technology into their programs. Light sources wired to the same control pair may be separately controlled by commanding their unique addresses. Signals are sent and received to and from the controller, for example, dimming down or on/off and signals received by the controlling software in- clude power monitoring and failure reporting. Electri- cal 4-wire dimming is also widely used. Although not as intricate as the DALI’s two-way communication protocol, costs are lower, and the same end-effect is gained. The main drawback of this system is that wiring lengths need to be controlled as brightness at the far end can be affected by long distances. LiD: What do you see as the main differences between lighting a home and a hotel room? CW: Materials selection is an important factor and, for that, the environment into which the light fittings are to be installed requires assessment. Fittings installed, for example, next to swimming

20

LiD Q1 - 2019

pools or in areas where chemicals are used, need specific treatment and require a regular cleaning and maintenance schedule. Rust, corrosion and pit- ting are causes of the chemical reaction between a metal and the environment. Lower alloy materials withstand the effects for longer and when com- bined with the correct treatment, the longevity of the metal can be increased.This is one of the main requirements for project lighting. Wiring classes also play a role in the differentia- tion between home and hospitality/commercial/ industrial lighting. Class 2 wiring employs power limitations and a Class 2 circuit is considered safe from a fire risk perspective. It provides better pro- tection from electrical shock than Class 1 wiring, which employs basic insulation and requires an earth return circuit. CW: Many challenges exist when producing and supplying lighting for hospitality projects. The proverbial book has been thrown at Illumina in our growth path towards providing a solid turn-key solution and expert back-up service for lighting designers, interior designers, project managers and electrical contractors. Budget constraints, timelines, delivery methods and managing the communication channels between the various role-players are key to a successful lighting project. CW: Smart lighting is a very interesting develop- ment in the lighting industry. Once fully developed and when costs are controlled, this technology will yield astounding results because the implementa- tion is not only based on technology, but also the use of data which is gathered by the system in an autonomous way. Also, as LED technology devel- ops, for example, the introduction of OLED and the follow-on, efficacy rates will improve which will reduce power requirements. LiD: What challenges exist when lighting a hotel? LiD:Where do you see hotel lighting improving in the future?

www.illumina.co.za

21

LiD Q1 - 2019

How to light a child’s room

Lighting is often the most overlooked element in any room’s design – and also one of the most important, particularly in a multifunctional space like a child's room.

S torytime is an important bedtime ritual for many families. Reading requires the right light, but you also want to ensure a calm space that promotes sleep. A directional bedside lamp that can be pointed at the book specifically is ideal for this. It allows parents and children to see what they are reading but won’t shine on the little one who is falling asleep. Night lights Children sometimes need the comfort of a night light and there is no better lamp for the task than a mobile, battery-operated touch lamp. If they wake up in the middle of the night they simply have to touch it and their room will be illuminated. Another option is a timer-controlled lamp that plugs into the wall. It’s a hassle-free option if a child struggles to fall asleep without some form of light on in the room. Mood lighting Ensure a cosy and unique atmosphere in a child’s room by incorporating lighting that creates splashes of soft colour on the walls. Not only does it add to the aesthetic appeal of the space, it also promotes brain activity. Children need to experience colour and movement for healthy mental development. While stimulation is important for young children, so is rest. Creating a peaceful environment in a child’s room is key, especially if you’re encouraging them

to fall asleep. Installing a dimmer control switch on the main light can help with this, as the lights can be gradually dimmed when needed. This comes in handy if parents need to feed a baby during the night or if a toddler wakes up and needs to be comforted. A dimmed light allows parents to carry out tasks without causing too much disruption, as would be the case if a bright, main light were switched on. Study light Bedrooms of school-going children often double up as a study. Here the right light can go a long way to increase concentration and even interest in thework. If you opt for a table or desk lamp, ensure that it is positioned so there is no direct glare on the child’s face when he or she is working. The light should fall directly on to the open page and there shouldn’t be any shadows when writing. Fluorescent lamps are ideal if the light is being used for long periods at a time since they don’t produce a lot of heat. For instances where more intense light is needed, such as studying from a textbook, a halogen lamp is more effective for its superior colour rendering. An energy-saving LED lamp which also produces superior quality lighting can be considered.

www.eurolux.co.za

22

LiD Q1 - 2019