Lighting in Design Q2 2019

www.crown.co.za Q2 - 2019

Space for reflection: Johannesburg Holocaust and Genocide Centre

A focus on façade and office lighting

SUTower: Reflecting a modern Accra

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LED Cannon – hi mast floodlighting

Giantlight (Pty) Ltd Tel: +27 11 704 1450 – www.giantlight.co.za Email: freddie@giantlight.co.za; glenn@giantlight.co.za; mark@giantlight.co.za; derek@giantlight.co.za

Ed Space

Editor: Gregg Cocking (lighting@crown.co.za) • Advertising manager: Carin Hannay (carinh@crown.co.za) Layout: Adel JvR Bothma • Circulation: Karen Smith Cover: The Johannesburg Holocaust and Genocide Centre, photograph by Natalie Payne. Published by Crown Publications cc PO Box 140, Bedfordview, 2008 - Tel: +27 (0)11 622 4770 Fax: +27 (0)11 615 6108 - Website: www.crown.co.za ABC 1 st 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 Light fixtures are increasingly being used to augment individual experience by tailoring data to space. Artemide’s Geo Li-Fi fixture, for example, uses smart Li-Fi LEDs, which can transmit geolocated media. The light can track a person’s move- ments within a space to monitor their preferences and send targeted information. The lighting industry is currently a very exciting place to be. Innovation continues unabated and for many, it is no longer just about providing a source of illumination to a project, it is a collaborative, problem-solving solution to a challenge. Long may it continue. W hilst we weren’t fortunate enough to visit Euroluce in April, we did keep a close eye on the trends coming out of Milan. Euroluce is a biennial light fair that takes place in Milan alongside Salone del Mobile , the Milan Furniture Fair. This year’s edition hosted more than 400 exhibitors from around the world and showcased a new direction in lighting: multitasking fixtures for all-around comfort. Judging from this year’s exhibits, shown April 9 to 14, the lights of the (near) future will incorporate features that not only illuminate space but also enhance user experience. Some incorporate soundproof panels to make noisy environments more comfortable; others are integrated into bookcases, tables and walk-in closets; and many stand in dialogue with other technologies, furniture and even the natural world. New applications of human-centric lighting theory give users the ability to customise their lights according to specific circadian rhythms, geographic location or activities. The ultimate aim is to increase the well-being of the user through a sensitive approach to technology. “People want to use technology more efficiently to benefit from it in everyday life,” said French designer Charles Kalpakian. “User comfort must be the ultimate goal for technology.”This concept was at the heart of Euroluce 2019. Besides providing illumination, lamps now multi-task and contribute to home comfort by integrating a variety of other features. Several offerings at this year’s fair incorporated sound-absorbing panels for acoustic insulation and comfort. Originally designed primarily for work environments, these fixtures now show up in residential spaces tomake get-togethers around the dinner tablemore comfortable, for example. Another trend at Euroluce 2019 was portable wireless lighting. Rechargeable through a simple USB cable, these lights now have longer battery life compared with past models – for instance, Tobias Grau’s Salt & Pepper light can last up to 100 hours. They can be placed far from power outlets and can be moved from room to room or even outside. Balconies, patios and yards now can be illuminated without outdoor wiring. And just because these lights are portable doesn’t mean they aren’t high tech: dimmers regulate both the temperature and the intensity of the light. Several manufacturers have also created apps to control light from afar. These allow you to turn the light on and off and to regulate the intensity and light tem- perature – from warm and calming, to cool to boost focus. The practical application of the theory of human-centric lighting was well repre- sented at Euroluce. Lightcycle by Dyson, for example, allows users to personalise lighting based on age, daily habits and local sunlight. The app also features pre-set lighting for various activities.

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IN side ...

EDspace Editor’s comment. Johannesburg Holocaust and Genocide Centre

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The Johannesburg Holocaust and Genocide Centre opened its Permanent Exhibition in March this year. Architect Lewis Levin and lighting designer, Paul Pamboukian included light as surface, light as texture, light as a tapestry, contour, and space in the project. The Harrington The iconic Harrington in the CapeTown CBD has been transformed into a state-of- the-art collaborative workspace. Lighting Innovations Africa has designed a lighting solution with a vibrant, modern look and feel by using continuous LED luminaries. SUTower Strategically situated at a busy intersection, and visible from all cardinal points, the SU Tower in Accra, Ghana is designed to respond to a circular site, while transforming a traditional box tower into an architectural landmark in the area. 78 Corlett Drive The three-storey 78 Corlett Drive project incorporates strongminimalist geometries, with shading louvres acting as a dynamic façade element. A restrained lighting treatment was called for to draw attention to the façade. Office lighting Besides the fact that light influences personal well-being and health, it also has a positive impact on performance. What has to be taken in to consideration when it comes to lighting in the workplace? Façade lighting When designing a building in the past, the main exterior architectural concepts were façade decoration and ornamentation.Today, however, façade lighting has a leading role in the decoration and identity of modern buildings. Residential lighting The lounge is known as the living room for good reason. It's the place where we spend a lot of time. Considered lighting works to enhance the look and feel of a space, and plays an important part in achieving the right ambience. News A round up of the latest industry lighting news, including Fonroche Lighting introducing its solar streetlights to South Africa, BEKA Schréder’s latest project at Ermelo Toyota and Spazio Lighting’s Euroluce review.

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Products New releases from Euro Nouveau, Giantlight and EuroConcepts.

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Space for Reflection Construction on The Johannesburg Holocaust and Genocide Centre commenced in January 2012 with the opening of the Permanent Exhibition in March this year, it is now fully functional and officially open.

PROJECTTEAM CLIENT: Johannesburg Holocaust & Genocide Centre ARCHITECT AND PROJECT MANAGER: Lewis Levine COLLABORATING ARCHITECTS: Asher Marcus, Clara da Cruz Almeida, Daniel Trollope ACOUSTICAL DESIGN: Ivan Ling LIGHTING DESIGN: Pamboukian lightdesign QUANTITY SURVEYOR: Hamlyn Gebhardt PROJECT PLANNER: Richard Waller SITE FOREMAN: John Martin STRUCTURAL ENGINEER: BSM Baker STEEL DESIGN AND FABRICATION: Dymond Engineering ELECTRICAL ENGINEER: Monty Miller Associates ELECTRICAL INSTALLATION: JM Electrical PERMANENT EXHIBITION: Clive van den Berg with Carina Comrie and Lauren Segal

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"L ight is reflection. Forget about the fitting. It’s about a wall, it’s all about volume and surface, it’s all about everything else and a light source. That simple statement opened my eyes" said Lewis Levin the architect of the Johannesburg Holocaust and Genocide Centre remembering a discussion he had had with Paul Pamboukian (lighting designer for the Centre) years back. It never let him go. Designing the Centre Levin returned to the question, what is illumination really? He set about designing "a building that beams with a veneration for life. "I wanted that kind of feeling to come into the building. One must talk about recovery, upliftment and moving forward." The lighting would be elementary, and subtly applied it would also add a warmth to the complex. The idea of thinking about "light as surface, about light as texture, about light as a tapestry, contour, or space" was applied throughout the building. "It is about evoking an emotional experience too." Levin the architect was also project manager, construction and procurement manager of the building. The slow build- ing process, dependent on financial contributions and in many instances building materials donations, allowed for experimentation. The lighting was designed to be centrally controlled which lead to clean solid and beautifully constructed English Bond Brickwork

wall, used in the concentration camps, without switches or plug points. "My idea generally, was to explore these self-illuminated surfaces as much as I could." This contrasts to working with traditionally elegantly sculp- tured light fittings as objects with a personality. "The idea of making as many of your own components as possible, from windows to façade systems, to whatever you can manufacture, even your own light- ing fittings, which are simply hid- den sleeves, hidden tubes, shafts and containers to mount light in, informed the entire design."

The lighting thus emanates from hidden sources. The floor skirting strip, for example, is lifted and fitted with power, data cables and LED strip. It runs throughout the building. Placed symbolically it gives legibility to its new primal function of illumination. The rim of light be- comes a feature that floats the wall. "We got a steel strip from which we bent up a whole series of profiles to fit the LEDs in, to conceal the source, and then made the composite." It was also applied to the staircases where the handrail, based on the inner contour of the hand, is angled to take a strip LED that casts a determined wide beam over the treads. The foyer with slatted timber ceiling strips has daylight panels either side to the east and west. The dump rock wall lights up late mornings for a short while, top lit directly through the skylight, by the passing sun. "The notion that you light a surface with the sun, with artificial light, is the same thing. You don’t think differently when you work with light. The challenge is to work both with natural and artificial light." By contrast the supporting I-beams are up lit, fitted with LED strip tucked into the corners and angled to give a soft mellow glow. Levin queries the suspended linear strip lights in the entrance lobby. "They don’t really add to to the space. If you look at the bathroom fittings, we made them up, suspended they up light the ceilings and are virtually invisible." LED strips concealed along the exposed con- crete structural beams would have illuminated the soffits. For the barn roof of the resource centre and temporary exhibition space on the first-floor strip lighting channels are fixed to the support beams as accents. They are side daylit, a deliberate feature with a strong symbolic reference as well, most atrocities were committed in daylight for all to see. Temporary exhibitions are sandwiched between the top and lower light. In the resource

centre the protruding box, reminiscent of the inside of a murky railway freight waggon, is floated as a negative element on the light strip, which could be interpreted as representing the track. The dump rock wall crossed with railway track, symbolic of a modern ubiquitous industrial sys- tem, representing modernity but also oppression and suffering. The re-used pieces of track on the entrance façade are contrasted with the inverse groove for track mounting left bear in the foyer ‘are like a light beam, shafts of darkness but also shafts of light. "If you imagine a follow-through between the way you construct something, the way it looks and the way you light it, it all becomes one".The mass weight of the material only becomes apparent through the lighting. The cobble stones of the entrance square (courtyard), conjuring up memories of a traditional European town square, are taken from commercial gravestone leftovers that were cut into small 50 x 50 mm pavers. The shiny polished side is scattered between the untreated rough-hewn stone. "They became symbolic of unnamed souls that accompany us as we use the building. Once again, they carry memory."

The most obvious symbol, the rail track, used literally, sinuated or in associated form finds its ultimate expression in the I-beam section laser-cut into the steel plate as a silhouette frieze above the entrance, which conceals an air-condi- tioning duct on the roof. "What is the symbolic language ap- plied to the Centre?The notion of reduc- ing a building that represents or sym- bolises or feels with these histories is a daunting and haunting task that one does quite hesitantly. One struggles with presenting the unpresentable. For example, how does one pour con- crete into an idea?" states Levin.With carefully considered light of no sym- bolic value, but applied as a material to enhance textural expression, the Centre imbues a gentle feeling of loftiness and reflection.

Lighting adds to modern refurbishment

The iconic Harrington in the East City Precinct of the Cape Town CBD has been transformed into a state-of-the-art collaborative workspace offering private offices, dedicated workspaces, meeting rooms and board rooms. Lighting Innovations Africa has designed a lighting solution with a vibrant, modern look and feel by using continuous LED luminaires down the passages and at various angles in office spaces.

L ocated in an area that has recently been up- lifted and given a new lease on life owing to the development of several residential, retail and commercial projects, the Harrington is enriched by a host of cafes and coffee shops. The East City Precinct’s streets are lined with popular bars and restaurants which also add to the cosmopolitan energy of the neighbourhood. The Harrington mixed use retail and commercial development has a total GLA in excess of 11 000m 2 and includes five-storeys of flexible office accom- modation. Large floor plates of 2 100m 2 each, give tenants the ability to tailor this space to their spe- cific requirements. It also contains exciting retail opportunities, a spacious roof deck for events, and secure undercover parking. The Harrington covers most of the city block with its main commercial entrance off Harrington

Street, and street-level retail fronting onto Har- rington, Buitenkant & Barrack Streets. It offers 30 fully-serviced private offices configured and styled to suit personal tastes and needs. KUBE Architec- ture created a number of layouts and interiors to select from, catering to teams from two people to 20. “The client contacted Lighting Innovations Africa directly to do a complete design, which con- formed with the SABS standards in lux levels and with energy consumption in mind,” explains Justin Roberts from Lighting Innovations Africa. “The de- sign was done in RELUX, a lighting program and the lighting layout was done in AUTOCAD and issued to site for Goddards Electrical to install,” he says. The brief called for energy efficient lighting with a linear and modern, urban feel. "Lighting is becom- ing a prominent feature in office environments and

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the newmain entrance, leading off Harrington Street acknowledges the scatter of Cape Victorian archi- tecture and its scale in a contemporary aesthetic. Inside the main foyer, executives and young creatives are greeted by a display of contemporary art, while a green wall softens the raw honest framework of the existing structure. Interventions by local graffiti artists and colourful neon signage elicit nostalgic emotions, while the floor, which ramps up to impersonate the streetscape, draws passers-by into the building.

interior designers and architects are becoming more aware of the benefits of a professional lighting design.The better the lighting, the more productive the office will be, and good lighting also assists staff with their well-being,” notes Roberts. Lighting Innovations Africa used continuous LED luminaries down the passages and at various angles in office spaces. Black GOLA 50 suspended continuous luminaires with warm white 3 000 K LEDs were used to achieve between 300 to 400 lux in the passages, while for the office blocks, Black GOLA 50 Suspended linear luminaires with cool white 4 000 K LEDs were used to achieve 400 to 500 Lux. “The long linear runs had to be straight and with no dead spots,” says Roberts of the chal- lenges encountered during the project. “After the electricians were finished we had to go in with our service team and ‘tweak’ the installation to achieve this. It was a very difficult project in terms of the long runs and achieving the correct levels, however we would love to do more of these projects as the design adds great value to the building.” The architectural components of the refurbish- ment are respectfully reminiscent of the history of the area with the introduction of an architectural moulding relating to the art-deco movement char- acteristic of this part of Cape Town. The addition to

PROJECTTEAM DEVELOPER: Blend Property Group ARCHITECTS: Kube Architecture PA & QUANTITY SURVEYOR: SLA Consult STRUCTURAL ENGINEERING: LH Consulting Engineers FIRE & MECHANICAL ENGINEERING:

SPARQ Consulting Engineers ELECTRICAL ENGINEERING: B2A Consulting Engineers ELECTRICIANS: Goddards Electrical LIGHTING DESIGN: Lighting Innovations Africa

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T aking into account town planning guidelines the building, designed by Boogertman+Partners, was pulled to the back of the site, with floor plates opti- mised to the main intersection. This allowed for external parking, arrival landscaping and an entrance befitting its stature and upmarket address, while providing a gradual transition between the building edge and adjacent public transport network. Eye catching and striking, the entrance façade itself is faceted in separate and distinguishable layers emulating local textile textures.The delicate parting lines and angled mirrors emphasise the prominence of the corner of the building whilst drawing the eye upwards, accentuating the buildings stature. The glazed façade draws inspiration from the richness of Ghanaian textures and patterns in a subtle play of nine different shades of glass. This variation of colours is car- ried through in the concrete panels along the secondary façade of the parking podium. The roof of the parking podium has been converted into outdoor space using Astroturf – a synthetic grass like material that is known for its cooling properties and in addition requires no water, which makes it ideal for the harsh sunny climate where water resources are scarce. The architectural geometry inherent in the building’s design is continued outside to Reflecting a modern Accra S t rategi cal l y s i tuated at the busy intersection of the Kanda Highway and Castle Road, and visible from all cardinal points, the SU Tower in Accra, Ghana is designed to respond to a circular site, while transforming a traditional box tower into an architectural landmark in the area.

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create shaded seating areas and breakaway spaces. Boogertman+Partners Director, Anton Koeke- moer, notes that the lighting brief for the SUTower had to be low energy and low maintenance. The office spaces had to provide a minimum lux level of 400 lux at 700 mm above floor level. “It was also requested that the façade feature be enhanced at night time with lighting elements to make the building more prominent,” he says. “We used, for the first time, a rubber enclosed LED light strip on the façade which provided us with a weather- and bug-proof, flexible fitting which enabled us to follow the angles of the façade. This provided a neon-like light glowwithout the hassles of using real neon tubes.” In terms of natural lighting, he notes that the office floor plates were kept to a minimum depth to optimise the glass façade’s natural light. “I think we achieved our goal of creating an impressive looking building during day and night time as lighting in a commercial environment plays a huge role in enhanc- ing the building’s feature and stature after sunset.We also achieved the required energy savings by using LED lights throughout the building,” says Koekemoer.

Facilities The ground floor of SUTower operates as the build- ing’s main entrance opening up to over 700 m 2 of retail space with restaurants, cafés and shops, including a bookstore. Four lifts connect the park- ing levels to nine floors of office space, spanning 10 000 m 2 , with each floor designed to accom- modate up to six tenants. With unpredictable local services, the basement holds a sewerage treatment plant that feeds a 260 000 litre on-site water storage tank, ensuring fresh water is always available. Rising up, the SU Tower stands out, a glimmering beacon of prestige and prominence, mirroring its location by day and lighting up the skyline at night.

PROJECTTEAM DEVELOPER: Eris SA/Ghana ARCHITECTS: Boogertman+Partners PARTNER ARCHITECT: Multicad PROJECT MANAGERS: GHC Africa QUANTITY SURVEYOR: Del QS ELECTRICAL ENGINEERS: CKR Electrical consultants and Lambert Electromec

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Unique façade lighting distinguishes one of SA’s greenest buildings

The three-storey 78 Corlett Drive project is situated on a brownfields site and is well connected to local amenities and existing public transport infrastructure. The design incorporates strong minimalist geometries, with shading louvres acting as a dynamic facade element and passive shading device. A restrained lighting treatment was called for to draw attention to the façade once the sun goes down.

A new contemporary office development, designed by Daffonchio & Associates Archi- tects along Corlett Drive in Johannesburg, 78 Corlett Drive, aims to set a new standard of vibrant and trendy co-working office spaces in a cutting edge six-star Green Star certified building. The building is elevated above street level, gently interfacing with the ground through a small glass box which will house the main circulation core and a concierge service. The upper ground floor of the building houses a mixture of vibrant open co- working spaces and cellular offices, interspersed with social and formal meeting spaces, all revolving around a central coffee bar located in the triple- volume daylit atrium. The first floor has additional co-working spaces and larger formal offices to cater for a diverse variety of tenants. It is at night, however, that the building comes

into its own. “We were asked to design the façade lighting for the face of the building that ties into the slatted feature façade,” says Byron Lottering from Regent Lighting Solutions (RLS). “After be- ing supplied the artist’s impression and details of what the intended facade would look like, we designed and custom manufactured the lighting required to fit seamlessly into an extrusion of the facade. The Linear Mini was used in sizes of 800 mm, 1600 mm and 2 400 mm at 4 000 K. Jose Loureiro, design manager at RLS, notes that the project did come with challenges. “The objective was to provide feature lighting to distin- guish the façade and not to light anything up. We had to play with the intensity of the light and had to tone it down twice to get it subdued enough for passers-by to be able to see the lines but not flood out the front area with light,” he explains. “A

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lighting design was done for the façade to calculate the output onto the road and, being a local manu- facturer, we were able to provide samples for the architect and client so they could be taken on site at night and tweaked.” Another challenge was ensuring that the linears looked neat in louvres. “Essentially we were given a 50 mm wide aluminium ‘box’ and needed to incorporate a recessed linear light on the end. We had to work together with the façade engineer to marry the elements. In the end, the solution is a snug, neat fit, with the addition of a lip to ensure that the louvres are flush,” he says.The manufactur- ing process was well coordinated to ensure that the lighting system doesn’t detract from the look of the louvres and no broken lines are visible. The colour of the powder coating was even coordinated to ensure an exact match. “This was a good example of the suppliers being involved early enough in the process towork together with the various architectural and engineering teams to supply samples on site. Everyone is very happy with the overall effect,” notes Loreira. From a main- tenance perspective, it is easy to check the drivers behind the panels in the case of any failures, and the diffuser is easily peeled out towork on the LEDs.The fittings have built-in IP protection and are powered through cables which are fed through the 800 mm ‘fins’. “It was a bit of a challenge powering the fit- tings,” he explains, “But with some dialogue with electrician on site, in the end it wasn’t a major issue.” Loureiro’s advice to architects is to consult with the lighting suppliers as early as possible; “Even when in the concept or budget stages,” he says. “That gives us more time to come up with better solutions for the project. As an example, wiring isn’t often initially considered, which necessitates chas- ing after the effect, yet our involvement from an

early stage of the project can quicken the process.” Elsewhere, the landscape and exterior parking area of 78 Corlett Drive is illuminated by the RLS Piazza Post top 48 W and the basement parking area was fitted with Linear Mini fittings to keep in line with the modernistic straight line design style on the facade of the building. The Linear Mini was supplied in multiple variations – both recessed and surface mounted – in continuous and in sections from 3 m up to 14 m. A ‘net zero’ building As one of the first projects in Africa to be certified Net Zero, 78 Corlett Drive in Johannesburg is lead- ing the local green building sector into a new phase of evolution. The project was awarded a Net Zero Carbon (Pilot) Level 1 Certification in late November 2017, and a 6-star Green Star Office V1.1 Design certification in January 2018. The project is targeting an Innovation Point under the Green Star tool for promoting the use of electric cars by providing electric-car charging facilities as part of the base building infrastructure, and dedicated bays for electric vehicles. Six fuel- efficient parking bays dedicated to hybrids and other fuel-efficient vehicles, and five dedicated motorbike parking spaces, have been preferen- tially located close to the main building entrance. In addition, seven staff and three visitors’ bicycle racks have been provided, together with a cyclist’s changing room, shower and lockers. An energy model of the building was gener- ated in the design stages, comparing 78 Corlett to a notional building model. The building design showed an improvement of 100% (net zero oper- ating emissions base building) over a SANS 10400 notional building.

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The building’s peak electrical demand is actively reduced through a photovoltaic solar system on the roof that will tie in to the grid. All enclosed spaces are individually switched, making it easy to light only occupied areas; and hot water will be provided efficiently with small, high-performance electric under-counter geysers installed in each bathroom, which alleviate the need for long runs of insulated hot water pipes. Geyser electric requirements will be supplemented by the PV array on the roof. Separate energy sub-meters are provided for lighting and power to accurately monitor energy consumption. The behaviour of occupants and users of the building is critical to reducing con- sumption, and the owners are targeting an overall consumption of 75 kWh/m 2 /year, far less than the 200 kWh/m 2 /year SANS10400 XA require- ment. Carbon emissions have been reduced to 92 kgCO 2 /m 2 /year. The design allows a direct visual connection to the external environment for 80% of the of- fice useable area, thus optimising natural daylight within. A high level of thermal comfort is ensured by addressing the internal operative temperatures through modelling and ensuring they are within the ASHRAE Standard 55-2004 Acceptability Limits for at least 98% of occupied hours. 100% of the usable area is mechanically venti- lated and provides ample good quality outside air by demonstrating a 66% improvement over and above the SANS 10400-O:2011 requirements. Cooling is provided to the building via air cooled chillers, which means that the building does not need to use water to cool the building.

PROJECTTEAM DEVELOPERS: Legaro Properties ELECTRICAL ENGINEER: PWP Taemane Consulting Engineers ARCHITECTS: Daffonchio & Associates Architects MECHANICAL ENGINEER: Graeme Page Consulting Engineers MAIN CONTRACTOR: Legaro Properties SUSTAINABLE BUILDING CONSULTANT: Solid Green Consulting ENVIRONMENTAL CONSULTANT: LEAP Landscape Architect Environmental Planner

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Best practices for office lighting design

Nowadays, up to 80% of information is processed visually. Besides the fact that light influences personal well-being and health, it also has a positive impact on motivation and performance. What has to be taken in to consideration when it comes to lighting in the workplace?

L ight has different functions that have to be taken into consideration for comprehensive assessment of a lighting concept in a room. Illumination does not only support the visual per- ception and therefore the information brokerage, but it is also signified by psychic-emotional and psychic-biological effects. The visual perception in a room is initially achieved by illumination.Therefore, ceiling fixtures have to be chosen individually according to the room condition. In addition, table lights and floor lamps can intensify the lighting effect. They are also able to zoom in on information processing and mental stimulation at the same time. The appropriate use of daylight and artificial light can have a strong impact on the psychic- emotional factors of lighting. Other factors that are influenced by light are health and performance. An ergonomically designed lighting can be very supporting and as studies have proofed, a good illumination at the working place has also an im- pact on motivation. For the evaluation of quality of illumination, a variety of parameters is analysed. The major cri- teria are lighting level and illuminance, harmonic brightness control, light colour, direction of light and restriction of glare and shadiness. Those pa- rameters, influencing visual environment, comfort

and performance, are frequently noted in scientific and practical approaches.

Recommendations for the lighting in the workplace The following light-measures are suggested to optimise lighting at the workplace: (1) Just as any other lighting concept, lighting at the working place should be flexible and energy-saving. An optimal lighting depends on the visual task and requires both a balance of indirect and direct light sources, as well as a balance between daylight and artificial light. (2) Flexible application, energy saving and ergo- nomics are requirements that have to be met by modern lighting technologies. A combina- tion of different types of lamps enables an individual illumination in rooms according to the visual tasks. Additionally, manufacturers provide energy-efficient LED bulbs. (3) One of themost important criterions for lighting at the work place is the respective work- and visual task. This decides on the choice of illuminants. Lighting level and illuminance Aminimumof 500 Lux is stated for the brightness at computer work stations. Generally speaking, an in- crease in illuminance boosts the visual performance

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and positively influences the detailed and fast visual information processing. An illuminance between 500 and 1000 Lux can also be seen as stress-free. The more complex the visual task is, the higher the illuminance requested. Additionally, person variables like the age are crucial for a final and overall evaluation of the chosen lighting concept. An illuminance between 750 and 1 000 Lux is said to sustainably enhance the working performance of elder workers. Mood lighting is often achieved by the illumina- tion parameter light colour. In this regard a render- ing index (CRI) is used as orientation. Indices from 90 Ra can be seen as natural values and are used for example in connection with LED lights and fluorescent lamps. For a further characterisation of illuminants and light sources, the light colour of fluorescent lamps is compared to the light colour and illuminance of light bulbs. This leads to the fol- lowing classification of light colours: warm white, neutral white and bright white. Also, effects of light and shadows decide on the lighting quality. To achieve a balance between natural and artificial light and to avoid shadows and glare, it is recommendable to place lights parallel to the window and the working place.This coherence was already pointed out by one of the first studies of the Ergonomic Institute (1997). If the visual com-

fort is directly compromised by light sources with a very high illuminance in the visual field, lighting experts refer to glare as a parameter of illumina- tion. Reflection is the second phenomenon that negatively influences the lighting quality. Daylight and artificial light The combination of different light sources contrib- utes to a lighting concept that can be adapted to the different light requirements. The use of direct and indirect lighting in addition to a balanced day- and artificial light, is very important. On the one hand, in offices and at computer work stations a very high level of indirect lighting is recommended to support non-glaring. On the other hand, direct lighting provides the essential shadiness for a good illumination.That is the reason why combining both illumination techniques is vital. Also, it is necessary to use appropriate bulbs for right illumination (general lighting), as they support the task lighting in the room. Lights with a movable luminaire head are highly recommended for a suit- able lighting at the workplace.When both computer- assisted and other tasks have to be managed from one workplace, individually placed table lamps serve as additional light sources. At some work places dimmable lights can also be advantageous. Source: www.lightingdeluxe.com

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Discussing office illumination with OPPLE Lighting RakeshVassanjee and Johan Geldenhuys from OPPLE Lighting spoke to Lighting in Design about the latest trends in office lighting. LiD: From your perspective, what are the current trends you are noticing? OPPLE: Currently in the market, the focus is on getting proper lighting into the office, for instance, the cor- rect temperature. Designers are looking at the number of hours one sits at the desk or by a computer, and the subsequent trend is to install the correct lighting and the correct size of fitting for that lighting.We have designed two panels that can be fitted into either a suspended ceiling or mounted onto a concrete celling in variations of 6 x 12 and 6 x 6 panels, available in colour temperatures of daylight and cool light. They are also flicker-free which is important in an office environment and reduces triggering epilepsy and migraines. LiD: Is human centric lighting being driven from clients or the suppliers? OPPLE: It is coming from both. With our extensive R&D department, OPPLE is continuously developing new ideas, hence our ranges of anti-glare, flicker-free and non-reflective lights. Cool white, 4000 K is be- coming the preferred choice for an office environment these days as people need to be comfortable due to the hours spent at work. LiD: Are the requirements in South Africa different to the overseas markets? OPPLE: In Europe the requirements are very high, and locally we need to meet the SABS standards. There are so many LEDs that have flooded the market at the moment. Overseas, people don’t mind spending the extra money on lighting, yet in our market people are more price conscious. Because there are so many players in the market, people have been burnt with other brands and been let down before, which is detrimental to the genuine suppliers . LiD: When will we get to the same stage as Europe in terms of smart lighting? OPPLE: When our economy allows clients to spend that money!We are getting some requests for it currently, but are finding that locally we don’t have the infrastructure in place to manage the modern light sources. LiD: What is the ideal future for lighting in office environments? OPPLE: Lights that are efficient and easily installed, as well as a focus on the correct colour temperatures in an office. Many engineers are starting to come to us to spec the product because they are now realising the need to do a lux reading, for example. The amount of desks and how much natural light comes into the building all play a role, and that’s where we have the advantage because we have done those case studies. LiD: Do you find that architects have a good understanding of lighting? OPPLE: Many still need to be brought up to speed – we call on many architects, designers and lighting engineers, to educate them on what is available and what they can actually use in their projects. A lot of people are still set in their ways with what they have always used – we want to educate so the right products can be specified. A lot of the architects are surprised by the technologies available – they are becoming smaller, more compact and more user friendly, which impacts on their design. Architects need to sit down with the brands and find out what is available in the market. A lot of the engineers are also set in their ways; they work purely within the budget and don’t look at the long term. A lot of custom made lighting is great, but when those lights fail, how do you repair and replace it quickly? As such, we like to futureproof our designs, so that as technologies change, you will still be able to use the same cut out, for instance, so that without having to replace the whole ceiling, you can still maintain or upgrade the fitting in the future.

www.opple.co.za/en

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A focus on façades

A rchitecture that appears neutral during the day and blends unassumingly into its setting can turn out to be a work of art at night. Light can envelop a structure like a second skin. If lighting units are integrated in a façade so that they are concealed or are mounted inconspicuously away from a façade, this produces a particularly striking surprise effect. Selectively configured light structures result in fascinating patterns of light that can redefine a building. But all this to become practically operational needs extra attention so as to address the associated concerns of environment and efficiency, yet depict minute architectural details. The form of façades is determined not only by their material and shape but also by the light and its direction and colour.The appearance of a façade alters during the course of the day due to the changing di- rection of light and the varying components of diffuse and direct light. Different light distributions and the use of lighting control systems give façades an appearance of their own at night. Varying illumi- nances differentiate components or areas of a façade. Grazing light emphasises facade details while wash lighting facades allow them to appear in their entirety. Shining any light beyond the facade surfaces, either to the sides or over the top, should be avoided. Nightscapes today are created by illuminated building façades facilitating orienta- tion, conveying messages, communicating emotions and creating attention. Keeping all this in mind, contemporary lighting solutions for building façades need to create added value for local authorities or have architectural or economic merit by making a location more beautiful and safer, showing a building off in the right light or getting a positive corporate image across. Achieving this demands great aesthetic design sensibility. Enhanced emphasis on façade lighting The number of buildings that have illuminated façades is increasing sharply. Because of architectural, societal and technological changes, lighting design faces new challenges. Saving energy is an omnipresent challenge, façade lighting must, therefore, get to grips with ecologi- cal compatibility issues. All lighting entails increased expenditure on energy. Light that is not properly directed onto a façade is perceived When designing a building in the past, the main exterior architectural concepts were façade decoration and ornamentation. Today, however, façade lighting has a leading role in the decoration and identity of modern buildings. The low consumption of LED lights combined with the low heat dispersion and great flexibility of the materials and the technologies on which they are based allow for the creation of unique stylistic and artistic façades.

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Improving energy efficiency Energy-efficiency is another distinctive characteristic of professional lighting concepts. Vertical façade lighting gets noticed from afar, making it easier for passers-by to get their bearings and making them feel more secure. Façade lighting can be used in a variety of ways. Among other things, it is a modern tool that can be used to make a landmark structure more appealing.This has to be balanced against the ambitious energy saving targets adopted by munici- palities and companies. And today’s intelligent light- ing solutions provide a way out of this dichotomy. LED lighting built into a façade or mounted close to it needs relatively little energy to generate the required luminance levels. LED lighting is unobtru- sive and energy-efficient. LED luminaires fitted in window reveals consume less energy at night than a small domestic appliance. Light is directed onto the surfaces that are to be illuminated in a targeted manner by optics and shutters. This prevents stray light and the associated light pollution. Adding to it is that each light source is dimmable and control- lable, making it possible to set individual switch-on times and intensities. Enhancing safety and security Illuminated façades help make visitors and passers-by feel more secure. They are therefore an important aspect of integral lighting design. Dark areas where people could hide are lit thus mitigating against vandalism. The extent to which an illuminated façade can improve security and enhance a location’s image is a matter of façade design keeping in view the fact that vertically illumi- nated surfaces, assuming identical luminance, are perceived as brighter than horizontal illumination making passers-by feel more secure. New media offers new possibilities Facade lighting is clearly part of a lighting designer’s scope of work. In the past, however, it did not pres- ent much design scope. In fact, façade lighting has only become a real topic of attention in the last 20 years. In the 1990s, so-called ‘City Beautification’ led to lit façades being considered a must within our urban culture.That has now taken a turn for the better.Today we can divide façade lighting into four different categories, or levels of expertise.

as distracting and an unnecessary waste of light. The ultimate goal is obtaining the best possible efficiency from lighting. Façade-integrated systems are photometrically optimised using lens technologies and covers and direct light onto the surface that is to be illuminated in a targeted manner. This makes it possible to overcome the drawbacks of direct illumination, i.e. distracting glare in indoor spaces and wasted scat- tered light. This makes it possible, despite façade lighting’s highly creative aspirations, to reconcile façade lighting with ecological requirements. Façade lighting – amarketing gimmick Society is in a state of change and many people are turning night into day. They want to carry on having fun late into the evening, seek entertainment and information and, in most of the instances, welcome surprises. Even so, safety and orientation must be ensured despite the darkness. Façade lighting shapes the image of a townscape, attracts atten- tion and lures in tourists. This boosts revenues and enhances prestige. It also gives investors an economic incentive to gentrify real estate and upgrade property usage, thus making it economi- cally more attractive. Façade lighting creates added cultural value. Environment and façade lighting Added cultural value must be weighed against the responsibility while dealing with the surroundings and the environment. Improper use of night-time lighting can have a negative impact on the environ- ment. Such lighting disrupts the biological process- es of creatures that are sensitive to light.Therefore, lighting designers and architects should aim to find a balance between using light in a way that saves resources and creates added cultural value. Towns and municipalities use many activities to promote tourism, make a business location attrac- tive or establish a residential district. Illuminating façades at night is a good way of improving the at- tractiveness of a public space. People love to spend their evening hours in towns and squares.They look for excitement, and interactive communications of this level plays a pivotal role. Illuminated architec- ture shapes a townscape and gives it a personality.

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Bring buildings to life with façade lighting design in Revit The final look of the building is determined not only by the materials, texture, colours and forms of the space, but also by lighting design. Architecture is all about vision, and lighting enhances the way we perceive architecture even more. For example, in the case of outdoor lighting design, lighting the façade will give a new opportunity for a building to showcase its nightlife ‘personality” by creating a completely different atmosphere in the surroundings. The LIGHTS add-on for Revit is a lighting design application, which features over 70 fam- ilies of lighting fixtures, includes photometric web files, accurate technical data, and real-life functionalities. The LIGHTS plugin includes a variety of lighting fixtures for different applica- tions ranging from industrial lights to bollard lighting fixtures for both interior and exterior use. It enables its users to create lighting design easily, quickly and stress-free whilst working within Autodesk Revit. By using the plug-in the users can drag and drop selected lighting fixtures directly to the model as well as easily adjust specifications such as colour temperature, beam angle or cashing colour. can be extremely helpful in this context. Many de- signers regard light solely as a means for accentua- tion. And yet there are far more subtle ways of using light, if it is applied indirectly or integrated into the architecture to achieve its ‘centre-stage’ role.

The first to mention are façades that are not illuminated. That is a shame, but as a rule better than the second category, which refers to façades that are poorly lit. When it comes to architectural lighting, this can also include the misconception that two-dimensional projections have something to do with enhancing the architecture. Thirdly, there are a large number of façades that seem to be illuminated in the same way, leaving them looking boring or not in line with the times. The use of colour in such cases does not change the overall impression. It is generally historic façades featuring columns and pillars that fall into this cat- egory. The lighting solution appears to be obvious, and in a city as rich in culture as St. Petersburg, which has many similar looking façades, it can turn a design opportunity into an urban concept that is dull. Design means lighting every façade individu- ally to purposefully bring out its charm and quality. And finally, façades that are well designed and illuminated. Professional lighting designers can ap- ply conventional lighting equipment or exploit the opportunities state-of-the-art digital lighting offers to implement different techniques to achieve a wide range of solutions. This includes creating a media façade. However, care is needed. Inexperienced or less creative designers quickly run the risk of transforming a façade into a two-dimensional media wall. In this context: where does the media content end and where does the architectural lighting be- gin? Opinions vary immensely, and ignorance often stands in the way of helpful discussion. The fact is that we live in the age of media and digitalisation and this also affects modern architecture. This does not mean that we have to sink into despair or anxiety. Toyo Ito‘s well-known Tower of Winds project, the lighting for which was designed by Kaoru Mende, is a fine example of the true meaning of media architecture and was celebrated back in 1986 as lighting design – at a time when LEDs were still two decades away from being taken seriously as a light source. And yet the question still remains as to how media design and architecture can be integrated without one taking the lead over the other. Converting a building, giving it a new image and lease of life while maintaining its historic identity is one of the exciting challenges of architecture. Light

Sources: technoled.eu; ledworldmag.com; 2018.pld-c.com

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