Lighting in Design Q2 2018

www.crown.co.za Q2 - 2018

16-17 th August 2018 Sandton Convention Centre Exhibition 2

Layered lighting for award-winning store

A modern pavilion for art

Spotlight on façade, office and residential lighting

Ed Space

L ight + Building, the biennial architectural design and technology trade fair fo- cused on the fields of lighting, electrical engineering, building automation, and civil-engineering software, is seen as a forerunner for the industry – much like the latest motor vehicle designs and nifty additions at auto shows, what emerges at the fair as a latest innovation, tends to filter through the industry over the next few years, as the standard. Although we weren’t fortunate enough to attend the event this year, we did keep a close eye on proceedings, and in terms of originality and excitement, Light + Building 2018 didn’t disappoint. At the show, Sylvania, Targetti, Forma and Wila all showcased spotlights with potentially one of the biggest things to hit display lighting since the 50 W dichroic lamp; LensVector’s solid-state liquid crystal lens, which can change beam angles from five to 60 degrees. Microprocessing is also on the up, and the detector in True Presence from Steinel is able to recognise the micro movements of people in a space, such as breathing. The microprocessor compares data collected by the microwave antenna to reference data to make '100 per cent accurate' detections, which could be a game-changer for PIRs. Bluetooth is steamrolling its way to the top of the wireless protocols in the industry and Xicato’s elegant GalaXi platform makes the most of it to create a wireless control kit which, with Bluetooth Mesh, is fully scalable to include thousands of luminaires.We also found the SunLike LED from Seoul Semiconductors interesting; as the name suggests, by using a violet chip instead of a blue one, the company has delivered an LED that it’s claiming is the closest to the sun on the market and objects illuminated by it appear as they do under sunlight. By all accounts, there was much to see and be excited about, and in this issue you can read a report on the show on page 26. Elsewhere we visit the much-talked about Discovery Place where the electrical engineers and suppliers expand on the challenges behind working on a project of such a scale; a new standard for bookstores at Exclusive Books in Ballito, where the initial brief for the lighting was to push the envelope in terms of the aesthetic and functional application of light; the multi-sensory celebration of art, architecture and landscape which is the Norval Foundation in Steenberg and discover a specialised light fitting which enables panel beaters to produce better results for their customers. We also have insight into the fields of façade, workspace and residential light- ing, while providing an update on the latest news and products to hit the market. I have worked on Lighting in Design for many years and have loved every minute of it. Since taking over as publisher of Crown Publications, however, my commitments have shifted and I can no longer devote the time I would like to the magazine. It is with great pleasure therefore that I hand the role to Gregg Cocking. Gregg, who is also the editor of our S parks Electrical News magazine, is an experienced writer and editor and in his career has been editor of both African Design Magazine and Leading Architecture and Design , amongst others. He has already implemented some important changes to the editorial coverage of LiD and I look forward to see- ing the magazine grow under his guidance. Enjoy the new look and feel!

Editor: Gregg Cocking (lighting@crown.co.za) • Advertising manager: Carin Hannay (carinh@crown.co.za) Layout: Adel JvR Bothma • Circulation: Karen Smith Cover: Discovery Place 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: 3 568 • Printed by: Tandym Print All issues of Lighting in Design can be viewed on our website. Visit www.lightingindesignmagazine.co.za

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IN side ...

EDspace Editor’s comment.

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Discovery Place Probably the most talked about building this year, the new Discovery global head- quarters in Sandton has become the largest new build project to date to receive a 5 Star Green Star rating by the Green Building Council South Africa (GBCSA). Exclusive Books Ballito The brief to Dakota Design, the interior architects and retail designers for Exclusive Books at Ballito Junction in KwaZulu-Natal, was clear; design a space that will encourage like-minded patrons “to have conversations” in the store. Norval Foundation The Norval Foundation, a multi-sensory celebration of art, architecture and land- scape, provided a unique opportunity for the project team; a client brief with the aspiration to create a world class art and cultural centre in an exceptional location. Façade lighting Illuminated building façades not only add to the versatility of the architecture itself, but alter how we see and use a building. Façades are powerful state- ments which can be used to convey messages and create attention. Office lighting Office design, and in turn, office lighting, has changed dramatically over the years, with better workplace lighting being linked to a 15 percent reduction in absenteeism in office environments. Residential lighting In most homes the kitchen has the honour of being both the heart of the home and the most multifunctional room in the house. The right lighting is essential to both these appropriations. News A round up of the latest industry lighting news, including the inaugural Isa Light- ing Trends Show in August, a new ELDC showroom and a report back on Light + Building. LED drivers LED’s require specific devices, LED drivers, for proper operation, and while select- ing the correct driver for an LED solution is common practice for designers of LED luminaires, for re-sellers, finding the right driver for the job can be a challenge.

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Products New releases from Newport Lighting, Euro Nouveau and Willowlamp.

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Lighting an icon Probably the most talked about building in South Africa this year, the new Discovery global headquarters in Sandton has become the largest new build project to date to receive a 5 Star Green Star rating by the Green Building Council South Africa (GBCSA).

D iscovery’s new head office is a bold archi- tectural statement at Sandton’s highest point. The building’s form is approximately 147 000 m 2 and its carefully sculptured interior spaces are intended to foster an environment of creativity, innovation and collaboration. The architectural concept is realised as two sunlit atria which are connected by a multi-storey circula- tion concourse – the hub, where staff and visitors enter the building and engage with it vertically and horizontally. Lifts and escalators are accessed directly from the concourse connecting the offce wings. The expansive ground floor accommodates Discovery’s retail partners, client services, walk-in centre, staff restaurants and coffee shops. The

various office levels are set out between the active ground floor and Discovery’sVitality level on the roof. “The client wanted a building that would ar- chitecturally describe them as a brand and as a company, and try and capture some of their ethos,” explains Alasdair Forsyth from the architects, Boogertman + Partners. “A big part of it was ef- ficiency; previously they were in four disjointed buildings in Sandton and it was impacting on their ability to effectively do what they had to do. I think a reason for the success of the scheme is the mas- sive foor plans; including Phase 2, it’s 12 000 m 2 a foor and we have eight of those. For the same bulk we could have built a 30 storey tower, but that wasn’t what they wanted.”

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Photographs courtesy Boogertman + Partners

Scale The sheer scale of the building can sometimes be underestimated. To put it into context, a Boeing 737 could be suspended in the west atrium of 1 Discovery Place without it touching sides, and early publicity noted that it was ‘the largest single- phase commercial office development in Africa.’ The project has 4 km of aluminium balustrades, 4 500 LED downlights and 50 000 m² of tiling. Lighting challenges Brand van den Heever from Claassen Auret Electri- cal and Electronic Consulting Engineers, the lead electrical engineer on site, says that projects of this size do not come along very often. “With almost 110 000 m 2 of office space, along with 200 000 m 2 of basement, this project was twice the size of the biggest building we worked on previously. “The architects were the driving force for the lighting design of the building. They came up with the concepts for each space and we found suitable light fittings for them. Frequently, there was some negotiating and concept changes because, often, many of the fittings had to be imported, which we

The entire ground foor is open to the public, so clients, passersby and people from neighbouring buildings can simply walk in from the street. Cru- cial to the success of the concourse is that it can be reached from the pavement without having to scale stairs or encounter barriers. It was conceived of as a space reminiscent of a train station or other public urban space. The ground foor is filled with around 20 shops and restaurants, fromWoolworths and Clicks to a home affairs office and a pet shop. In the first week of opening, the restaurants were serving 700 meals a day to non-inhabitants of the building, illustrating a need and appetite for these kinds of spaces in the Sandton CBD. There is a gym, running track, yoga decks, and multipurpose courts on the landscaped roof, all in line with the insurer’s Vitality programme that advocates an ac- tive lifestyle. Underpinned by Discovery’s core values, ambi- tion and purpose, the building is centred on occu- pants’ wellbeing and incorporates various sustain- ability strategies for energy and water efficiency, occupants' comfort, responsible use of materials and limited emissions.

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He explains that the roof also features a few ‘garden spike’ uplights to enhance the look and feel, and in the executive bar area, a 7 m u-shaped linear to highlight the bar area. “There are probably around 20 000 light fittings in the building, if not more,” says van den Heever. “Luckily we had clients who realised the value of lighting – between Zenprop and Growthpoint, the two developers, they have a lot of experience so we had informed clients –who knewwhat worked, what was reliable, and were familiar with the roleplayers and suppliers in the industry. Ultimately for a building like this, a lot of thought, development and proposals go into it, even before we get to the stage where we pick the light fittings. We then try and marry what looks nice on paper to what can work in the real world, which is always a bit of a compromise.We had a lot of input andworked verywell with the architects and the suppliers to get to where we are today.” He explains that at this stage, six months after Discovery moved its staff across, they are yet to see any major failures. “We haven’t had to revisit any of the external light fittings, although we have added two ‘street-type lights’ at the entrance and have supplemented lights here and there as people started working in the building – to accentuate cer- tain elements – but it’s been really minor if you look at the bigger scheme of things.” From the suppliers Regent Lighting Solutions As an experienced contributing supplier for this remarkable project, we were commissioned to supply both interior and exterior energy efficient luminaires as well as custommanufactured fittings. Our in-house manufacturing capabilities enabled the development of a unique fitting for the roof- top running track with a motion sensor that would

simply could not afford with current exchange rates. Therefore, we tried to find local manufacturers who could give us the same product,” he explains. Whenworking on a project with somany different zones and lighting requirements, Van den Heever says it is necessary to work through the project in “bite-sized chunks”. For instance, “Weworkshopped the entire podium, got certain concepts in terms of what streetlights would be needed, and proposed a bollard which the architects thought was too old- fashioned.We then found a sliver fitting fromRegent Lighting Solutions (RLS). Once we finalised that, and everyone was happy, we moved on to the next area. But, you’ll find a number of the same fittings on the roof as well. There we had a custom light manu- factured by RLS because there is an almost 600 m running track on the roof for which good lighting is essential, but at the same time it cannot be visible from the street.” As standard footlights do not give the required 2 m throw, and a light every 500 mm was not feasible, Claassen Auret developed and tested a custom-made fitting with RLS. “We tested it on site and showed it to the developers until we found something that worked and which we turned into an actual fitting.” “That sample became one of our façade fittings,” notes Byron Lottering from RLS. “We experi- mented with different lengths and different beam angles, as well as the diffusers and the housing until the client was happy, and through that process, it became one of the fittings we use to wash an external wall with light.” “On the roof there is a multifunctional court for volleyball and netball,” continues van den Heever. “There we went with another RLS fitting, the Boda – it’s a fairly cost effective, high output LED fitting with a long lifespan, as there is no need for frequent lamp replacements as they are 6 m up.”

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PROJECTTEAM OWNERS: The Discovery Joint Venture

ARCHITECTS: Boogertman + Partners: www.boogertman.com INTERIOR ARCHITECTS: Paragon Interface: www.paragon.co.za FAÇADE ENGINEERS: Pure Consulting: www.pureconsulting.co.za ELECTRICAL ENGINEERS: Conscious Consulting: www.conscious.co.za & Claassen Auret Inc: www.cai.co.za QUANTITY SURVEYORS: RLB Pentad: www.rlb.com LANDSCAPE ARCHITECTS: African Environmental Design: www.aedlandscape.co.za MAIN CONTRACTORS: WBHO: www.wbho.co.za &Tiber: www.tiber.co.za

achieve the required output levels, meet all ingress protection ratings and comply with the design style requirements of the building. All street lighting and pedestrian walkways surrounding the building as well as the roof-top running track, sports fields and landscape areas were specified for this project. Our ability to offer an end-to-end lighting solution, from design to after sales service capabilities, as well as our knowledge and experience in the lighting industry ensure our clients’ unique lighting objectives are met with peace of mind. Fittings used: Interior lighting: Linear Mini surface mounted 24W/M4000 K LED; Linear Maxi Recessed 10.5 m; Luxon Square Recessed 40 W LED 4000 K; Jura 1001 4000 K LED; Jura 1002 30 W LED; and Bali Spike 4.8 W 3000 K in all landscape gardens. Exterior lighting: Sliver 1.8 m plinth 42 W LED 3000 K; Piazza post top single 48W24 LED 4000 K; Piazza pole 5 mmounting height;Tula 2 wall mount- ed 4000 K LED Black; Shuttle wall mounted 18 W LED 4000 K; IstriaTrunion mounted 72W 36 LEDS 4000 K; and Boda Floodlight 200 W LED 5000 K. G Light G Light and LumenArt joined forces after being invited by Claasen Auret Incorporated to submit proposals on lighting and lighting controls from the initial concept of the Discovery building. We worked closely with the electrical engineers and contractors to design, supply, install, commission and hand over the project. All the open plan office areas were required to have LED luminaires, with an average of 250 Lux, while the general offices required an average of 250

Lux with sensor control. The boardroom required 300 Lux average controlled via DALI and BACnet, which were connected to the building management system, allowing full integration to room booking systems, access control, window blind’s control, audio visual, video conferencing, HVAC and dim- ming of luminaires for best results. Outdoor façade lighting was a specially designed Neon Flex that would allow Discovery to stand out from other buildings in the area. As with any project, working hand-in-hand with the hundreds of other contractors on site some- times caused confusion. However, this project was handled sufficiently well by a professional team and all hand over dates were reached. Although the implementation of new technologies was challeng- ing, after the initial installation started, the under- standing and implementation ran very smoothly. Fittings used: 600 x 600 LED panel x 6156; 1-Way gear x 331; 2-Way gear x 705; 3-Way gear x 329; 4-Way gear x 799; 6W Downlight x 1542; 6W DALI downlight x 654; 12W Black downlight x 141; 12W Black DALI downlight x 32; 12W White downlight x 2153; 12W White DALI downlight x 72; 18WWhite downlight x 3207; 18 WWhite DALI downlight x 23; Façade neon fex x 1720 m; LED lift lobby x 27; Benches x 5; Staircase linear x 243; Coves, wall cladding and lift lobbies x 6000 m; Auditorium x 250 m LED tape light; Decorative cladding lighting: >9000 m; Daylight harvesting sensors: >2000 sensors; DALI Room Controllers: 139; Multi-technology occu- pancy Sensors: 139.

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Layered lighting for award-winning store

When the owner and CEO of Exclusive Books bought the chain in 2013, it was a homecoming to the brand of which he had been CEO in the 1980s. Passionate about books, he immediately set out to deliver his goal of reigniting a thirst for reading and intellectualism.

T he brief to Dakota Design, the interior ar- chitects and retail designers for Exclusive Books at Ballito Junction in KwaZulu-Natal, was clear; design a space that would encourage likeminded patrons "to have conversations" in the store. For centuries, bookstores and coffee shops were spaces where people would gather to share thoughts, debate ideas and start movements that would shape the world as we know it today. For too long in recent history, bookstores have been staid places where people are expected to be quiet and where consuming food and bever- ages is unthinkable. Not so with Exclusive Books. Here, they want patrons to interact with each other and with authors, to listen, to share, and enjoy coffee and a treat. But fundamentality, the space is about books and the conversations they evoke. For Dakota Design it was about creating

the best environment for that vision to come alive in. In essence, no two Exclusive Books stores are the same. Dakota Design’s approach is to deliver stores whose designs have been tailored to suit the space and community in which they exist. Like the bookstores and coffee shops of old, they want people to develop an affinity and sense of belonging in their local store, precisely because it is different from anything else on offer. At the heart of the Exclusive Books store-con- cept lies an ‘old-school’ style library or bookstore with a modern twist, one in which books are piled to the rafters, encouraging patrons to view the experi- ence as one that elicits fond memories of people and places, both real and imagined. The designers want patrons to explore the space rather than view the purchase as simply being transactional. This is achieved by introducing wall racking that reaches

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from the foor to the ceiling 4 250 mm above. And although this runs contrary to commercial thinking, the out-of-reach books support the illusion of an old- school bookstore or library, but also serve as attic stock, which is easily accessible to staff by way of a library ladder mounted to a sliding rail. Once the backbone of the old-school bookstore is established, layers are added to enhance the experience. For Dakota Design, the real challenge was to find the perfect balance between the juxta- position of a calm tranquil reading environment and a lively hub for intellectual enlightenment, debate and expression. By designing a drop down bulkhead that runs around the perimeter of the store, they were able to introduce a downward facing mirror which, when you are standing beneath it, makes the books on the perimeter walls look as though they magically stretch upwards to infinity. This illusion is further enhanced with the use of an undulating acrylic mirror that creates a slightly distorted and even more fantastical effect. The intention of this design element is to give patrons a not-so-subtle clue that in this space people are encouraged to let their imaginations take fight and allow themselves to be transported to wherever their minds want to take them on their searches for knowledge, understanding and escapism. Chris Pietersen fromDarkroomLighting Projects, the lighting designer for the project, notes that the original brief from the client and design team was for the lighting to push the envelope in terms of the aesthetic and functional application of light. “The lighting needed to best showcase the book shelves,

Photographs: Grant Pitcher

whilst remaining functionally suitable for in-store reading. It was also a technical consideration from the outset that the lighting solution be glare-free and minimal, comfortable and inviting,” he explains. The lighting design for the store is based on three elements: Architectural lighting Suspended linear lighting provides a symmetri- cal wash and task lighting in between the book shelves, whilst also providing a horizontal reference plane within the overall exposed volume.The linear lighting is further supplemented by stalk spots to provide localised accent for shelf ends, and cre- ate more differentiation on the general retail area. Perimeter recessed lighting provides the same localised shelf lighting, but also ensures that the vertical faces within the space are well illuminated to further contribute to a bright and uplifting interior. Decorative lighting Decorative lighting throughout the space further enhances the inviting and human-centric design ethos of the project. The authenticity of the interior treatment is echoed in the manner that these add functionality to key areas within the store.The timber

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and balanced to achieve a sense of infinity, whilst maintaining the sense of intimacy within the space. In terms of natural light, Pietersen says, “The full height shopfront of the store lets in a large amount of daylight during the day, although the orientation of the store faces South-West, which tends to be more forgiving. Because all Exclusive Books stores respond to their locations, therewas a conscious de- cision to allowdaylight to supplement artificial lighting during the day, and the lighting levels at the transition area were increased to compensate for this”. Because of the large shopfront, lighting levels towards the back section of the store – which receives less natural daylight – were increased. Lighting around the children’s area at the back of the store was increased to ensure this area remains a focal point within the space. “The strong perimeter lighting throughout the store helps to maintain the general ambience and functional lighting levels. In all instances, the decorative lighting is supported by architectural lighting to lift lighting levels without relying solely on the decorative elements to provide the required task lighting,” Pietersen says. Dakota Design says the goal with this store was to create an environment that stimulates and challenges all the human senses, fostering differ- ent emotions and encouraging engagement by all who visit it.This sentiment was rewarded when the store received the 2017 Retail Design and Develop- ment Award (RDDA) for best Retail Store Design within a shopping centre in South Africa. “Careful and sensitive application of light will always be integral to the success of a space that requires artificial lighting,” says Pietersen, looking back at the award-winning project. “The lighting plan was carefully considered and coordinated with the client and the design team and the client always had a hands-on approach to the interiors and a clear vision of how it wanted to position its brand and the experience it provided to its patrons. This client involvement and dedication to the process is clearly visible in the end result; a layered lighting scheme with a great deal of detail and depth. It was this continued engagement and dialogue within the professional team that saw the store winning the RDDA award.”

lighting pendants – from a CapeTown-based lighting range – have been painted to match interior ele- ments, and lamped suitably to provide the required functionality to the children’s area towards the back of the space, as well as over the sales counter. A bespoke glass blower was commissioned by the interiors team for the glass spheres over the main coffee counter to provide a textured and crafted element, welcoming patrons to the store. Lastly, a world-renowned British-based company supplied the Anglepoise reading lights in a soft powder blue, at the central history table space, allowing for a tactile interaction with the lighting elements. Signage and integrated lighting The main graphic bulkhead within the space has been up-lit with a custom suspended linear channel to highlight the printed graphic face.This becomes a strong visual element within the space that draws the eye towards the children’s section at the back of the space. It adds a playful element which also lowers and defines the overall volume within the store. The Exclusive Books ‘E’ is rear-illuminated at the point of sale to provide the same textuality. “Warm White (<3000 Kelvin) was a common lighting palette from the outset of the design de- velopment to provide a warm and comfortable at- mosphere to the retail experience,” says Pietersen, noting that warmer light relies strongly on accent and variation to avoid a fat and one-dimensional space. The overall soffit height at the Exclusive Books Ballito store is very high and the heights of the perimeter (mirror) bulkhead, graphic bulkheads and the linear lighting layout, all had to be factored

PROJECTTEAM CLIENT: Exclusive Books ARCHITECTS/INTERIOR DESIGNERS: Dakota Design: www.dakotadesign.co.za ELECTRICAL CONTRACTOR: Trossco Electrical: www.trossco.co.za LIGHTING DESIGN & SUPPLY: Darkroom Lighting Projects: www.dark-room.co.za HAND-BLOWN GLASS PENDANTS: Red Hot Glass: www.redhotglass.co.za TIMBER DECORATIVE LIGHTING: Minima: www.minima.co.za ANGLEPOISE READING LAMPS: www.anglepoise.com BESPOKE STEELWORK & FABRICATION: www.bluesteelprojects.co.za

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A modern pavilion for art

T he Norval Foundation, a multi-sensory celebra- tion of art, architecture and landscape, opened to the public this April. The project provided a unique opportunity for the project team; a client brief with the aspiration to create a world class art and cultural centre in an exceptional location that would be open to the public. Designed to international stan- dards it is expected to become a significant space for art both in South Africa and globally. Location and site The Norval Foundation is located in the Steenberg area on the slopes of the Constantiaberg Mountain, surrounded by vineyards and residential estates. The site is bounded by Steenberg Road on its northeast boundary, by the vineyards of Steenberg Farm and Silwersteen residential estate on its north western boundary, and by a conservation area on its south eastern boundary. The site incorporates an incredibly sensitive existing wetland ecosystem that had been his- torically neglected. The wetland was completly rehabilitated, with alien species removed and em- bankments shaped to improve the water course. The wetland and its surrounding buffer zones have been revived and replanted with locally indigenous fynbos, enhanced by other indigenous plants and naturalised species, and has already attracted a multitude of insects and birds onto the site.

Design concept The Norval Foundation was envisioned by dhk ar- chitects as a modern pavilion for art, set against a dramatic mountain and vineyard landscape. It is a pure expression of form; a bold rectangular mass, delineating its heavy walled enclosure and light over-sailing roof. The building is constrained by the linear site, between a busy road and an existing wetland; turn- ing its back to a neighbouring embassy compound. The linear circulation spine is positioned along this edge, with the galleries and public spaces facing the natural landscape, capturing framed views of the wetland, vineyards and mountains beyond. The building sits in an elevated position, and shields the wetland, creating a private space for the sculpture park and forms an inhabited threshold between public and private zones. A triple volume atrium establishes a deliberate visual connection between these zones – one urban, the other natural – and provides a physical transition between the contrasting environments. The Norval Foundation is experienced in a linear sequence. A curved wall that extends into the entrance court, draws visitors past the double volume restaurant, gallery shop and into the gener- ous reception which calmly directs guests to the central atrium that introduces the main galleries. A

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terrace along the length of the building incorporates a timber deck serving the restaurant, and connects to walkways on either side that lead into the sculpture park. The grounds include an amphitheatre, children’s playground, and picnic area. Visitors to the restaurant dine beneath Ashlee Ainsley Lloyd’s 'Molecular light'; a large-scale light installation that was created for A NewWave , South- ern Guild’s exhibition showcasing emerging design talent in August 2017. Molecular is hand wrought from over a kilometre of chunky blackened rope and echoes the craggy forms of the surrounding mountains. “I wanted to create a foating, primitive and virtually conscious formation whose textured shape is reminiscent of ravines and abysses found in dramatic natural earth formations that are present on this beautiful continent,” the de- signer said about her original design. Ashlee is a young industrial designer and textile lover based in CapeTown who is inspired by the rich culture of craft in Southern Africa and the complex forms found in nature – passions she channels into tactile pieces that engage one’s emotions and senses. Kevin Stein, associate at dhk architects, notes that there was an intended duality between natural and artificial light, and that the architects played with the concept of transition lighting expressed through spatial planning. “This is experienced in the journey through the gallery spaces, starting in the special exhibitions gallery which has no natural light, on to the six smaller galleries which have a small amount of natural light via the clerestory, and culminating in the dramatic triple volume sculpture gallery with full height windows and an abundance of natural light,” he says. The remainder of the building aims to create a sense of lightness. “This was achieved through the use of clerestory glazing (natural light) and recessed ceiling light coves (artificial light) in combination with shadow cornice details. In order to accentuate the textures, shapes and forms of the building, the designers, (Pam- boukian lightdesign) opted for upward lighting, rather than lighting from top down, as this creates a more dramatic lighting effect,” he says. Stein notes that finding the balance between clerestory lighting and artificial lighting was tricky, especially considering all the elements, layers and volumes of the building. “A lot of thought and care- ful planning was put into making sure the conceived lighting duality was achieved.” The gallery The gallery spaces comprise a large environmentally-

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and humidity, acoustics, and fire prevention.To cre- ate the minimal spaces required for the display of art, all of the services are concealed in the wall and ceiling cavities to create a seamless appearance. Converge Consulting, the appointed electrical con- sultants for the project worked on the electrical de- sign, including the lighting and buildingmanagement control systemwith integration, with other disciplines and equipment from a green initiative perspective. “We were the appointed electrical consultants responsible for the design of the electrical infra- structure, small power, BOH lighting and building management system, where the latter included lighting control and integrationwith other disciplines, including HVAC, fire and photovoltaics,” notes Con- verge Consulting’s Tino Brink. “One of the unique challenges was having two electrical contracting companies appointed for the same project – clear and concise instructions were implemented from the outset to ensure and define a clear split in re- sponsibility between the two entities.” Brink continues, “The FOH portion of the lighting was designed by Pamboukian lightdesign and the BOH by Converge Consulting. For the BOH area we specified energy efficient linear LED linear lumi- naires with PIR occupancy sensors to further reduce the carbon footprint. Daylight harvesting occupancy sensors were specified within the open plan office

controlled special exhibitions space, and a series of six small galleries, culminating in a triple volume sculpture gallery, a dramatic setting for large scale pieces withTable Mountain as the backdrop. All the gallery spaces are column free, allowing for maxi- mumfexibility for display of all forms of art, and they can be treated as separate experiences or to create a sequential journey as required. The specific technical requirements for the gal- lery spaces in terms of environment control take into account careful control of light, temperature

areas to ensure the DALI luminaires were dimmed to compensate for natural light experienced at any given time whilst maintaining the required lux levels.” The programme dictated the building form, which is split vertically between the ground floor galleries and public spaces, and the first foor where the more private spaces are found; offices, library, bar, a further gallery space and artist’s residence. In addition to the rehabili- tatedwetland and indigenous landscaped sculpture park,

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sustainability features include solar photovoltaic panels on the roof, a building management system to optimise performance, water saving measures, grey water purification system, return of storm water to the wetland system, and energy efficient glazing and solar shading on the façade.Wherever possible, natural light to the internal spaces has been maximised, with large full height and clere- story windows throughout, with the exception of certain galleries. “The combination of natural and artificial lighting has worked very well,” concludes Stein from dhk. “The decision to opt for coved lighting accompanied by dramatic up lighting has been very successful in creating an experience that celebrates the architectural form of the building.” The architectural design is a rational response to the specific context and the functional require- ments of the brief, and strikes a balance between two motivations: to protect the artwork within, and maximise views to the natural landscape outside.

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Specialist lights for the panel beating industry

W hen auto body specialist Renew-it was planning the design of its new branch in Edenvale, Johannesburg, Flolite Lighting Manufacturers & Distributers was able to develop a new light fitting for the company, which would im- prove its service dramatically. "We were approached by Justin Ferreira of Ferreira’s Electrical based in Edenvale and this wholesaler put us in touch with Renew-it,” explains Flolite owner, John DeWet. “The company needed lighting which would specifically match the correct colour temperatures required to expose blemishes on the vehicles it repairs. After initially suggesting two products – a 5000 K light fitting and a few edge lit panels – neither of which provided enough lumens per watt, and the colour rendering index was wrong, Flolite designed a solu- tion. “Months ago we produced a board at 8700 K and, never thinking it would be used, we created a fitting which Renew-it found was exactly what it needed. The SkyWhite light picked up an additional 22 blemishes on a demo car that had already been signed off. The client was very happy and we came to an agreement to install the fittings at this branch and eventually roll them out at all other Renew-it branches countrywide.” There are currently 550 fittings installed at the Edenvale branch with the possibility of more as the fit out comes to a close. “Since we are lighting manufacturers, we will be able to manufacture the relevant fittings for the other branches, depending on the ceiling type. The fittings for the Edenvale branch are recessed into a 600 mm by 1200 mm ceiling panel, but we have the capabilities to create surface mounted or custom made fittings as well,” says De Wet. He notes that

the product is manufactured locally using a Helvar driver supplied throughAdvanced Lighting Systems. “We have a great relationship with Clive Beeton and only use Helvar drivers because they are ex- cellent quality. We are able to give the client a five year guarantee, which comes with a maintenance plan. Should any luminaire fail, we will swop it at our own cost, giving the client complete peace of mind". Quality isn't cheap, but in the long run it pays off. The installation was carried out by Mylofash (Flolite’s installation division), while the electrician was Tyrone Muller from Switched On Electricians. "It has been a pleasure to work on this project,” says DeWet. “There were some time constraints, but overall, for a project of this magnitude, it’s been handled very well.” Ultimately, with the new light fittings, Renew-it will be able to provide a better service to customers with fewer comebacks on its work. “The success of the fitting comes down its colour rendering index and Sky White colour,” says De Wet, noting that this was hard to achieve as they needed to pull back the reds on the colour rendering index. Flolite Manufacturing has been in operation for 33 years, with De Wet taking over the reins in September 2017. “Throughout its history, Flolite had not manufactured any LED fittings, and within six months of taking over we had 37 LED fittings,” he explains. “We supply canopy highbays for petrol stations as well as lighting for warehouses, parking lots and retail, notably the Spar Group. We are very excited about our outdoor parking light, at 56 000 lumens with a 75 m radius.”

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FLOLITE NEW MYLO LED RANGE

Mylo Recessed 50W LED

Lowbay / Garage Canopy 100W LED

REC 100W

Recessed Troffer 100W LED

Recessed 50W LED

Linear Highbay 100W Linear LED

Contact sales@ olite.co.za or call 011 394 3810 for more information

Selecting the correct LED driver

L ight Emitting Diodes are fast becoming the dominant technology in the South-African lighting market. LED’s require specific de- vices called LED drivers for proper operation. Most end-users are unaware of this as the driver is incor- porated into the LED lamp or the LED luminaire. Selecting the correct driver for an LED solution is common practice for designers of LED luminaires. However, for re-sellers looking to replace failed drivers in the field or trying to find the right driver for LED panels or downlights that were supplied without driver, finding the right driver for the job can be a challenge. This article, by Henk Rotman of Tridonic, gives practical guidelines. Comparison with traditional technologies Most people active in today’s lighting market grew up with traditional technologies and as a conse- quence are used to the fact that most light sources need additional components for proper operation, like ballasts and starters/ignitors for discharge lamps and transformers in the case of low-voltage halogen lamps. Originally, ballasts and transformers were based on electro-magnetic technology. Choosing the right ballast was pretty straightforward as, in most cases, it was a matter of matching the wattage of the lamp with the wattage of the ballast. For example, a Mercury Vapour lamp 125W needed a 125 W MV ballast. The introduction of Electronic Control Gear (ECG) made choosing the right ballast a bit more compli- cated, as ECGs gave users the option to connect more lamps to the same ballast. Additionally ECGs offered the option of dimming, and choosing an ECG with the right dimming interface (1-10 V, DSI, DALI, etc) was important as it had to match the control system. LED drivers With the rise of LEDs the market has to learn how to choose the correct driver for the LED solution. With LEDs being fundamentally different from tradi-

tional light sources, choosing the right driver is also very different from finding the right components for a traditional light source. Fundamentally there are two main types of LED drivers: constant voltage drivers and constant cur- rent drivers, which are designed to operate LEDs with different sets of electrical requirements. Constant voltage drivers supply a fixed voltage to the LED solution, usually 12V or 24V, but the cur- rent may vary up to its maximum rating. Constant voltage drivers are common in signage applications and are also used for LED strips. Constant current drivers offer a fixed current to the LED solution, while the output voltage will vary within a specified voltage range. Constant current drivers are used mainly for general lighting applications, like LED downlights and LED panels. This article focuses on constant current drivers. Matching LED driver and LED solution How does one find the correct (Constant Current) LED driver for an LED solution? Unlike selecting the correct control gear for traditional light sources, the first parameter to look at is not wattage but the operating current required for the LED solution. Common values are 350 mA and 700 mA, but it usually is between 200 and 1400 mA. Pay attention to the fact that the forward current can be tempera- ture dependent. There are cases where the LED solution requires a specific current, one not offered by an LED driver. In those cases the advice is to choose a driver offering a lower current. A lower current will lead to a lower light output. Do not go for a driver offering a higher current as this might lead to overheating the LED solution. The next parameter to look at (and one which is sometimes ignored) is the required forward voltage (Vf) of the LED solution. The forward voltage of a single LED is the volt- age that must be applied across the leads of the LED, from anode to cathode, in order for a current to fow through the LED and hence for the LED to

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In cases where the forward voltage of the LED module is just outside the output voltage range of the driver, the LED module may turn on and off a few times before remaining off. At this stage one might ask, “What about the wattage ... surely the wattage of the driver has to match the wattage of the LED module?” The answer is that this is not necessarily the case. If one has selected a driver that offers the correct operating current and output voltage range one will notice that the wattage of the LED solution is lower than or equal to the wattage of the driver. If the wattage of the LED solution is higher than the wattage of the driver the matching of operating cur- rent and output voltage has not been done correctly and one needs to review the choice of the driver. Other requirements If the above steps have been followed, hopefully one has found several suitable drivers. Now it is time to look at other (mostly practical) requirements to narrow the selection. Additional requirements can be:

generate light.The forward voltage of an LED mod- ule is the sum of the forward voltages of the single LEDs that make up that module or panel (this is in case the LEDs are connected in series). As there are tolerances in the forward voltage of single LEDs (partly because the Vf of an LED slightly increases over lifetime), the forward voltage of an LED mod- ule/panel is usually given as a voltage range , not a single value. As with the forward current, the forward voltage is temperature dependent. Besides offering a fixed operating current any con- stant current driver offers an output voltage range. When selecting an LED driver, the output voltage range of the driver must cover the full forward volt- age range of the LED module (see Figure 1). If the forward voltage of an LED module falls outside the output voltage range of a driver, the following will happen: - Forward voltage LED solution > output voltage range driver: LEDmodule will not work/no light. - Forward voltage LED solution < output voltage range driver: Risk of unstable behaviour of the LED module/fashing.

Comparison of… Value in light module

Value in LED Driver Output current

Detailed procedure

(1) Current

I max.

=

- Determine forward current of LED solution. - Check whether LED driver can be operated with the same output current. - Check whether max. dc forward current of LED module is greater than or equal to output current of LED driver (incl. tolerances). CAUTION! The max dc forward current can be temperature dependent, check datasheet of LED solution.

≥

Max. dc forward current

Output current + tolerances

(2) Voltage

Min. forward volt- age

>

Min. output voltage

- Check whether voltage range of LED solution is completely within the voltage range of the driver.

CAUTION!The forward voltage is temperature depen- dent and increases over lifetime.

Max. forward voltage

<

Max. output volt- age

NOTICE! To ensure full dimming performance, the forward voltage of the LED module at min. dim level must be greater than or equal to the min. output voltage of the driver. - Determine the forward voltage of the LED mod- ule at lowest dim level. In cases where there is no data available for the LED module at lowest dim level: take the min. forward voltage minus 20% as an approximation. Check whether the forward voltage of the LED module is greater than or equal to the min. output voltage of the driver.

Min. forward voltage @ min. dimlevel

>

Min. output volt- age

Figure 1: Scheme offering guidelines on how to check compatibility between LED solution and LED driver.

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Any person struggling to find a suitable driver not need despair: reputable driver suppliers can be contacted to assist in making the right selection. Programmable drivers Let’s go into a bit more detail about the operating current offered by constant current LED drivers. Many of these drivers offer a single operating cur- rent (350 mA or 700 mA) but we see more and more programmable drivers being used. Program- mable drivers offer not a single operating current but an operating current range (for example, from 200 mA to 700 mA). This greatly increases the versatility of the driver, as the same driver can be used for different LED solutions. Another advantage of programmable drivers is that it is possible to optimise the LED solution for energy-efficiency or lowest initial investment, since a low operating cur- rent increases the efficacy of the solution and a high operating current reduces the component costs. To set the correct operating current for LED drivers, different programming methods are avail- able: using dipswitches, resistors or software and programming the driver using Near Field Com- munication. Programmable drivers are also called ‘window drivers’ as they not only offer an output voltage range, but also an operating current range. When visualis- ing both the output voltage range and the operating current range in a graph it looks like a ‘window’. Im- portant is to realise that the driver is able to offer any combination of output voltage and operating current as long as it is within the window.

- Size/form factor: LED drivers are available in many sizes and form factors, in linear, rectan- gular and round shapes. - Mounting options: Most drivers are designed to be built into a luminaire, but there are also drivers with a so-called strain relief, which can be placed on top of a ceiling and then connected to an LED solution. - Application: As outdoor lighting is a particularly demanding application, there are drivers spe- cifically developed for use in outdoor lighting. These drivers are often potted, have a high immunity against voltage peaks/transients and higher lifetime specifications. Indoor drivers have specifications aligned with indoor use. There are also specific drivers for industrial lighting, these have some of the higher speci- fications in common with outdoor drivers, like higher immunity, and better lifetime in relation to ambient temperature. - Dimming: Many drivers are for fixed-output use. However, there is also a wide choice when it comes to dimmable drivers. Important is the communication between driver and control devices. Communication can be based on protocols like 1-10 V, DALI or DSI, or it can be based on using concepts like phase-cutting or switch dimming (using a bell press). Advice is to spend the necessary time matching the control device/control system with the right driver. - Ingress Protection (IP) rating: Most drivers are rated IP20 and are designed to be built into a luminaire. There are however more and more drivers with a higher IP rating, mainly for out- door applications. - Power factor: Most drivers have a high power factor (usually 0.95 and higher). However, some low wattage drivers might have a low power factor. - Ripple current: The output ripple current of an LED driver determines the ‘ficker’ (better de- scribed as ‘unacceptable light variation that is directly perceived by an average observer’) of an LED solution.The lower the ripple current of the driver the lower the risk of ficker. In this in- stance, knowing the application is important, for example, a driver used in a foodlight installed in a stadiumwhereTV images are recorded should have an extremely low ripple current, while a driver used in a foodlight to light up your yard can have a higher ripple current.

Figure 2: Example of an ‘operating window’.

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