Lighting in Design Q2 2021

www.crown.co.za Q2 - 2021

Lights used as a ‘celebration’ in Algoa FM’s green building

A landscape and lighting intervention in the Breede River Valley

Using lighting as infrastructure and a brand element in retail stores

Ed Space

T he pandemic has had numerous knock-on effects for every industry, and the lighting industry hasn’t escaped. Many people took to Zoom to connect and interact with family and friends around the world, or as a way to continue with business meetings, albeit virtually. ETC, a UK-based manufacturer of lighting and rigging technology, took to Zoom to start an event named Light Bytes. In essence, Light Bytes takes place on the first Friday of every month (at 16:30 BST/17:30 CEST) and is a series of informal chats about light and lighting which help to promote open communication and networking in the lighting and associated industries. Hosted from the ETC office in London and streamed worldwide, each month it presents a new and exciting topic featuring news about its latest products and current industry trends. What makes this series fascinating, is that ETC is joined each month by a panel of different industry professionals from around the world, from opinion panels, to spotlights on companies or specific work, to roundtables, all offering the opportunity for those watching to engage with the panel in the question and answer sessions. South Africa’s own Paul Pamboukian of Pamboukian lightdesign was a recent guest where he took part in a discussion between four lighting designers who had started out in the theatre and moved over to architectural lighting design. As independent and product-neutral designers who work with the medium of light, Pamboukian lightdesign’s collaboration with architects, designers and developers from concept to completion, ensure this. The company is made up of designers from backgrounds in architecture, interior design, music and theatre led by Paul Pamboukian who has over 30 years’ experience working with light. Paul was Chief Lighting Designer at the State Theatre in Pretoria and respon- sible for the lighting of many opera, ballet and drama productions. He went on to co-establish Production Projects for product launches, show staging, lighting design, distribution of theatre lighting and control systems. Paul has lit shows in Basel, Berlin, Cape Town, Hawaii, Johannesburg, NewYork, Pretoria, Paris and Venice. He has worked on more than 500 industrial theatre productions for an international clientele. In 1990 he established Pamboukian lightdesign. The next session of Light Bytes, on Friday 4 th of June (just before this issue will reach you unfortunately), is titled Creative Collaborations – Projection and Lighting Design. Projection is no longer out of reach for most productions. The technology has improved dramatically making projectors that are smaller, brighter and more affordable and we are seeing these more and more in shows today. Software for content creation and media playback is more easily accessible, pow- erful and affordable.These factors, coupled with our desire to create productions that are more visually stunning mean that it is not uncommon for shows to have both a lighting designer and a projection designer as part of the creative team. Whether you work in live entertainment, broadcast, film, architecture, or whether you are just passionate about light and lighting, then Light Bytes will be of interest to you. Visit www.etcconnect.com/Support/Training-Events/LTD/ Light-Bytes.aspx or search ‘Light Bytes’ on YouTube to catch up on all the past discussions.

Editor: Gregg Cocking (lighting@crown.co.za) • Advertising manager: Carin Hannay (carinh@crown.co.za) Layout: Katlego Montsho • Circulation: Karen Smith Cover: Bosjes Cafe by David Southwood Published by Crown Publications (Pty) Ltd PO Box 140, Bedfordview, 2008 - Tel: +27 (0)11 622 4770 Fax: +27 (0)11 615 6108 - Website: www.crown.co.za ABC 2020: 4 242• Printed by: Tandym Print All issues of Lighting in Design can be viewed on our website. Visit www.lightingindesignmagazine.co.za

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EDspace Editor’s comment.

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A landscape and lighting intervention Drawing inspiration from the ways the San and the early Dutch settlers first inhabited the Breede River Valley, the Garden Cafe is one of two sister buildings at Bosjes Estate. Lights used as a ‘celebration’ in new green building The new Algoa FM building in Baakens Valley, Port Elizabeth, boasts a funky interior – a reflection of the radio station’s motto: ‘Fun is serious business’. Province Lighting played an integral part in creating the desired atmosphere by providing dramatic decorative lighting. Marrying technology and human scale How do you make a physical space that is predominantly concerned with technology and digital screens welcoming and warm? This was the challenge at DSTV’s flagship experience store in Polokwane. Area lighting solution for warehouse A new goods distribution warehouse required a South African-manufactured, energy-efficient lighting solution for general area lighting to increase the feeling of safety and well-being. Various BEKA Schréder LED luminaires were chosen to achieve this. Retail design looking upwards Using lighting as infrastructure and an element of brand presentation in the design of retail stores. Lighting for public spaces In many situations, particularly when people are concerned about security, there is a tendency to over-light a park, plaza, street, or other public space. But in fact, too much lighting can be just as bad as too little lighting. News A round up of the latest industry lighting news, including a hospital security lighting solution from BEKA Schréder, a new online lighting store, new sconce range from willowlamp, the issue of fly-by-night LED suppliers in the local market and a profile on Lights By Linea.

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A landscape and lighting intervention Drawing inspiration from the ways the San and the early Dutch settlers first inhabited the Breede River Valley, the Garden Cafe is one of two sister buildings, the other a gift shop, carefully burrowed into expansive gardens.

A creative collaboration between London- based archi tects Steyn Studio, Liam Mooney Studio and Square One Landscape Architects’ South African office has resulted in the effortless fusion between architecture and landscape, with gardens that wrap over new buildings, which in turn are woven back into the landscape with intricate trellis structures. It is a subtle celebration of the Breedekloof Valley in South Africa’s Western Cape region’s rich cultural history. “Predominantly the brief was to respond to the architecture of the space as well as the existing design elements in the Bosjes brand,” explains Liam Mooney from Liam Mooney Studio. The client’s brief called for the new development, which included gardens, a small restaurant/café called ‘Die Spens’ (The Pantry) and gift shop (‘Winkel’), on the Bosjes Estate to be relevant and contextual, providing an inviting and inspiring journey between the two key attractions on the estate: the well- known Bosjes chapel and the manor house, whilst not interfering with the visual dialogue between the two. On the lighting, Mooney notes that, “The light had to very quietly add to the design without

being overwhelming.” The new garden is a conceptual microcosm of the broader landscape, referencing the regional context of the agricultural Breedekloof Valley. The new didactic gardens, therefore, cultivate the land with enchanting playscapes that encourage children and adults to engage with the natural world, and the buildings nestled within it. Diverse ecologies were created by integrating wetlands and natural water treatment systems with forest habitats and rehabilitated indigenous vegetation. The overall design respectfully acknowledges the presence of the historic manor house and chapel on the estate and visually enhances the previously established relationship between the two, as well as the surrounding vineyards and mountain backdrops, balancing its composition with new planting and the creation of a series of processional routes. The landscaping and buildings were carefully designed so as not to compete with the existing architectural features of the estate. It has a low visual profile with tree planting reinforcing

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the existing visual axis and landscape features such as tree windbreaks stitching it back into the surrounding rural landscape. In order to hide approximately 750 m 2 of building, it was decided early on to have two separate buildings, which also adds to the visitor experience. Steyn Studio worked closely with Square One to position the built structures in the landscape as curiosities and also as anchors around which the landscape was then designed. The seamless integration of the landscaping elements with the built structures was an essential design objective from the start of the project. The landscaped gardens are spread across three sloping terraces, connected by a curving pathway that provides universal access. Both buildings are partially built into the slope, the roofs overlaid with soil and planted with indigenous grasses and succulents to blend seamlessly into the landscape, leaving the panoramic mountain views untouched. “There were no specific requirements for lighting,” says Mooney, “I decided as much as

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of it.” The light was manufactured by Megalite. The simple architectural forms of the buildings were inspired by the huts of the San called ‘ Matjieshuis ’ (Mat House) as well as the first dwellings of the Dutch settlers, called ‘KapHuis’ (Truss House), which was apparently influenced by the San. The Kaphuis could therefore have been a hybrid of sorts between these two cultures. The Matjieshuis was a portable, curved, slat-framed structure covered with woven mats, used by San

possible to respond to the beautiful triangular shape of the building, allowing the architecture to shine as much as possible. My involvement was purely for the public areas,” he says. “Here the lighting had to be ambient as well as functional. To this end we had direct spotlights shining down on the table and a dimmable LED strip shine up onto the roof.” Challenges were few, though one centred around the sheer scale and weight of the luminaire, such as the assembling and erecting

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herders as they migrated seasonally with their cattle during pre-colonial and early colonial times. The KapHuis was a series of A-frame trusses covered with thatch, with the interior lowered to allow for more headroom. Both structures were part of this historic landscape and blended subtly with their surroundings. The mounds of the new structures have an uncanny resemblance to the nearby surrounding hills. Intricately curved oak trellis structures, a subtle homage to the San huts, serve as a visual focus that guides visitors inwards and then twists to create the enclosures of the café/restaurant and gift shop, which are ‘carpeted’ over with the new gardens. Over time, these extensive trellises will be further integrated into the garden; overgrown with more than a dozen species of climbing plants. The expressed conical front-of-house spaces are partly sunken to reduce their scale impact, with the functional back-of-house spaces completely underground. In order to allow the trellis pattern to appear continuously weaved between the interior and exterior, the glazing imitates its pattern, resulting in a zig-zag arrangement that assists the tall vertical structural span of the glass. The material pallet was kept simple. The underground building elements fronting the mountain backdrop were f inished in raw cementitious finishes. The thin concrete shell vaulted structures are painted white, referencing the way traditional whitewashed Cape Dutch homesteads dot the landscape, as well as the nearby chapel, with the floor and walkways finished with grey terrazzo. After extensive research conducted by Arup, oak was considered to be the best timber for the trellis in terms of its durability and bendability. Mooney believes that the lighting used in the project adds to the design. “I think what was successful about the design was that it blends in with its surroundings so well – it offers real functional value but is also slick and streamlined in a very busy room. The lighting played a pivotal role in this.” PROJECTTEAM Project title: Garden Café Design architecture: Steyn Studio Location: Bosjes Estate, Breedekloof Valley, Western Cape, South Africa Project architect: Meyer & Associates Landscape architect: Square One Landscape Architects Interior design: Liam Mooney Studio Main contractor: Gvk-Siya Zama Construction Electrical engineer: Bührmann Consulting Engineers Mechanical engineer: Ekcon Consulting Engineers Photography : Dook (drone photography), David Southwood

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Lights used as a ‘celebration’ in new green building The new Algoa FM building in Baakens Valley, Port Elizabeth, boasts a funky interior – a reflection of the radio station’s motto: ‘Fun is serious business’. Province Lighting played an integral part in creating the desired atmosphere by providing dramatic decorative lighting.

N elson Mandela Bay’s newest green building has saved an estimated 40 000 kg of CO 2 emissions in the past 12 months, according to Algoa FM managing director Alfie Jay. This sav- ing in fossil fuel emissions is thanks to the iconic Algoa FM headquarters in the Baakens Valley being designed with sustainability in mind, by incorporat- ing solar panels to minimise power use. Technology being used to reduce power consumption in the building includes the fitting of LED lights through- out, which are controlled by 40 motion sensors in low-traffic areas. The interior of Algoa FM’s new, green building was designed to be ‘edgy, fun and vibey’ with a ‘sound’ theme. The decorative lighting needed to complement the theme, but also play a functional role enhancing and filling gaps left by natural light and standard light fittings. The building, with large windows across its façade, is visible to everyone driving into the Baakens Valley – a factor which was taken into consideration when deciding its finishes. Province Lighting only got involved in the project after its PE branch opened and by then the Algoa FM building was midway through construction. When architect Johann Staats saw the lights in Province’s catalogue – lights that weren’t yet available in South Africa, he said: “Those lights are coming into this building!” Algoa FM’s tech- nical manager, Chris Wright agreed: “When we saw what Province Lighting had to offer, it sent us in a different direction for the finishes inside the building.” The solution Before providing the lights, Province did light metering to ensure it would provide LEDs at the correct wattage and level of lighting. The lights were designed, manufactured and assembled by Province, and all the electrician needed to do was suspend and plug them in. Each light has an alu- minium extrusion or profile which is custom-made to the required shape and size of the fitting. The LED lights are placed inside these profiles. Enough aluminium needs to be used for each profile to act

as a heat sink, to dissipate the heat generated by the LEDs and LED drivers. Centaurus : The oval suspended Centaurus light was used in Algoa FM’s boardroom. The aluminium profile was made according to the boardroom’s size and was fitted with an up-down luminaire (light fitting). This meant that one row of LEDs was placed inside the profile facing upwards, to light the boardroom ceiling, while a second rowwas placed facing downwards to illuminate the boardroom table. The LED lights used were selected based on the lumen (or light) output required for the room. Polaris: Suspended from the ceiling in the open- plan office area at various levels are circular lights of different sizes. These lights mimic the patterns

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architect is one with a happy client,” says Craig Billson, director, Studio D’Arc Architects. • “We are stoked. It was a first for the electrician who had to hang these lights, but the system worked so wel l that the level l ing went effortlessly and the installation went without any damage, breakage or injury. Everything from Province’s side slotted in exactly where it needed to be,” says Johann Staats, director, Studio D’Arc Architects. • “The lights are a massive wow factor in our building, they are really stunning! The staff were absolutely awe-struck,” notes Chris Wright, technical manager, Algoa FM.

on the carpets and the architects regard them as the champagne bubbles, or ‘celebration’ of the building. The 25 fixtures were once again made from alumin- ium profiles of 600 mm, 1 m and 1,5 m in diameter, with LED lights embedded in them. Province had to manipulate the lumen output of each Polaris to ensure that the light intensity coming from each fixture was consistent with the next. Alternating Polaris: As one walks into Algoa FM’s entertainment area you’re drawn in by a long, wave- like light. This suspended LED was designed to look like a sound wave that amplifies or ‘increases in volume’ the further one goes into the room. This was the most complicated light that Province had to provide for Algoa FM. The LED lights come in curved strips of varying radii. Province had to link strips of different radii together to create a con- tinuous, curved light which increases in size as it goes along. This unusual fitting was then given to installers to hang and plug in. The total length of the fitting came to 7,5 m. Province used 3500 Kelvin lights to create a warm, welcome feeling in the entertainment area. Client feedback The lighting lived up to the excitement and expec- tations of everyone involved in the project: • “We absolutely love it and we’ve received positive feedback from the client. A happy

www.provincelighting.com

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Marrying technology and human scale

D esign Partnership recently completed the flagship experience store for DSTV in Polok- wane. Their brief was to design a space that centred around the customer experience journey while highlighting all of DSTV’s latest product offerings. Through the marriage of technology and hu- man scale design, they created a space that is ‘future-forward’ with its clean, uncomplicated lines and colour palate, yet homely and tactile with the designer’s choice of fabrics and natural materials. DSTV may sell digital products but the physical store sells a feeling; through tactile textures and comfortable nooks, Design Partnership were able to create a welcoming space. “This store turned out beautifully. It captivates the spirit of DSTV; every moment in the store is inspiring and felt, from when you enter the store with projected welcoming messages, to browsing the history wall, to experiencing your own personal cinema in the custom designed pods,” say the de- signers. “The interior and finishes perfectly marry high technology with comforting luxury. Every detail is considered and has a reason.” Regent Lighting Solutions (RLS) were asked by Design Partnership to assist with the design and manufacture of four round pendants for the DSTV How do you make a physical space that is predominantly concerned with technology and digital screens welcoming and warm?

Store in Polokwane. These round pendants were to resemble the four rings on a DSTV remote so it was very important that the light was downward facing to achieve the visual resemblance. The Stra- ta 50 was the ideal solution for this request with its ability to be rolled seamlessly to the required sizes. The proposed solution also needed to be DALI dimmable in order to be operated from the control system. The four rings measure 1200 mm; 1500 mm; 2400 mm and 4000 mm in diameter. With the pendants needing to be transported to

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enhance customer experience. The intersection of creativity and commerce is where the company chose to focus its attention. The Design Partnership’s research-based process meant the company spends a lot of time ensuring that they are always up to date on what is happening, both locally and internationally, in the retail, hospitality and workplace markets. The de- signers condense this information into summarised documents around topics they believe are driving these different business categories.

Polokwane, the RLS design department designed the pendants in a sectional format so they could be transported and then assembled with ease. The electrical work was carried out by Imperial Electrical. The Design Partnership is primarily a design and build focused agency with a critical appre- ciation for strategy and experience design in the hospitality, retail and workplace market. Busi- nesses have increasingly looked to design to help differentiate their products and services, and to

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BEKA Schréder luminaires illuminate the loading bays of the new RTTWarehouse in Polokwane.

Area lighting solution for warehouse

A new goods distribution warehouse required a South-African-manufactured, energy-efficient lighting solution for general area lighting to increase the feeling of safety and well-being. Various BEKA Schréder LED luminaires were chosen to achieve this. B EKA Schréder has supplied the area lighting for the new RTT Warehouse in Polokwane, South Africa. The RTT Group is a leading logistics partner specialising in multiple distribution strategies. gy-efficient lighting solution. With a lifetime five times longer than a fluorescent tube, this modern linear LED luminaire lowers the total cost of own- ership of a lighting installation and eliminates the need for maintenance. The BEKA VAPOURLINE creates safe and comfortable working conditions thanks to its low glare and high colour rendering index to optimise productivity. Inner warehouse

The loading bays were illuminated with the OM- NIFLOOD and OMNISTAR-MIDI LED floodlights, and the BEKA VAPOURLINE linear LED luminaire. The aesthetic, locally designed and manufactured OMNIFLOOD, combined with a variety of optical distributions, makes it versatile and thus the per- fect choice for various types of applications, such as lighting recreational sports areas, industrial areas, service stations, campuses, business parks, car parks, building façades and billboards. The OMNISTAR-MIDI has been designed to provide an unrivalled combination of performance and flexibility for lighting areas where high lumen packages are needed while offering maximum savings in energy and maintenance costs with a short payback time. Designed to provide a long-term solution for harsh industrial environments, the BEKA VAPOUR- LINE has a strong mechanical design that makes it highly resistant to shock and vibration while its IP rating makes it ideal for dusty and wet locations. This high-performing luminaire provides an ener-

The inner warehouse was illuminated with the ECOBAY. The ECOBAY is the ideal luminaire for lighting industrial facilities at optimised light levels. It delivers the best solution for lowbay and high- bay applications. The ECOBAY offers substantial energy savings and high performance, and is able to operate at high ambient temperatures. Available with four typical lumen packages and various light distributions, the ECOBAY is perfectly suited for multiple indoor lighting applications. The ECOBAY not only lowers your initial investment. It maximises it by providing a comfortable environ- ment for your staff while limiting energy consump- tion to what is absolutely necessary. Thanks to its reliable performance, low dust accumulation and no need for relamping and regular maintenance, the ECOBAY is the luminaire of choice.

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This, together with the long lifetime of the LEDs, and an easy installation procedure, makes the SERIES 300 the bulkhead of choice. General outdoor area lighting The LEDNOVA-MIDI was installed to provide gen- eral outdoor area lighting. The LEDNOVA is a robust and versatile LED bulkhead range, and offers op- timal photometric performance and high reliability to reduce energy consumption and maintenance in all types of lighting applications. The LEDNOVA range is suitable for use in various environments, which include outdoor mining areas, oil and gas refineries, food and beverage plants, manufacturing process plants and any application that requires robust and well- built luminaires. Indeed, the LEDNOVA range has been developed to reduce disability glare and thus improve the quality of light. This LED bulkhead is also available in the standard surface mount version, and an optional pole mount version, which makes it truly versatile. Entrance area The BEKA LEDDUO up- and downlighter illumi- nates the entrance signage. This luminaire has been manufactured from high- quality materials and is available in a wide or medium beam distribution. The luminaire housing is robustly constructed, weatherproof, hail proof, corrosion proof and vandal resistant. It is manufactured from corrosion-resist- ant aluminium, ensuring a long product lifetime. BEKA Schréder locally develops and manu- factures energy-efficient LED lighting products, designed and suitable for local conditions. The company, along with Pienaar & Erwee Polokwane and S2 Electrical, ensured a successful lighting solution for this project.

Parking area The parking area is illuminated with the ZIYA-2, an economical energy-efficient LED streetlight. Com- pact yet powerful, light yet robust, affordable yet highly efficient, the ZIYA range provides the fastest return on investment in road and area lighting. The ZIYA range offers a superior lumen/watt ratio to deliver a high-performing, energy-efficient lighting solution at an affordable price for various landscapes, including pedestrian zones, streets, roads and car parks. The ZIYA range comprises of the ZIYA-1 and ZIYA-2 with aluminium housing, and the ZIYA-E with calcium-filled Polypropylene housing. The range incorporates a universal side-entry mounting for 42mm diameter spigots. Precise on-site setting is facilitated through an incorporated inclination system. Built to withstand high ambient tempera- tures and vandalism (IK 10) and with a high Ingress Protection level (IP 65), the ZIYA range provides a sustainable performance over time. Office block and guard house The SERIES 300 LED bulkhead has been installed around the office block and guard house. The SERIES 300, with its modern and simple design, allows this LED bulkhead to blend into any areas by day, and to make an impact when it is dark. It is the ideal solution to beautify buildings and to provide area lighting for commercial developments, retail areas, shopping malls and public buildings. High-quality materials are used to ensure a high ingress protection and non-discolouring diffuser.

www.beka-schreder.co.za

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Retail design looking upwards

Using lighting as infrastructure and an element of brand presentation. T he ceiling has long been neglected as a part of architecture but is now being increasingly recognised by designers as an independent element of design. Ceilings provide a flexible basis for illuminating products and at the same time a valuable framework for brand presentation. Design flexibility in this regard ranges from expressive, technical styles to a purist or even magical ceiling appearance where luminaires remain elegantly concealed. This article explains how lighting on ceilings can be skilfully used for displaying and highlighting goods, and also outlines the possibil- ities of the lighting concept and specific luminaire arrangements on ceilings. We seldom enter shops with flat white ceil- ings and uniform, orthogonal grids of luminaires. Such approaches would appear too similar to expressionless classrooms, corridors or rooms in administration buildings, and would definitely not have a positive effect on the shopping experience. Ceilings in shops are more frequently the exciting stage for presenting and highlighting the brand. As a counterpart to opulent, densely arranged goods displayed on tables and in shelving, shop ceilings are often the calm antithesis. A discreet, harmoni- ous impression is created if the room’s materials, colours and language of design are continued on the ceiling. According to the brand profile, an urban character is achieved by raw materials such as ex- posed concrete and bare ceilings, or a natural, soft atmosphere with wooden slats and textile strips. If customers are to be stimulated by the retail design, contrasts in colour and material set a counterpoint: black ceilings create a narrow, cave-like appearance whereas wide-area light ceilings hint at diffuse outdoor skies. Via the parameters of brightness and planarity, ceilings can be an important medium for atmospherically using distance or intimacy for brand communication and product presentation purposes. Ceilings can also be equipped with strips of light to help guide customers through the store. The ceiling as an important element of infrastructure in shop lighting If the ceiling is merely seen as a stage for self-pres- entation or a medium for supporting customer ori- entation an important aspect is frequently neglect- ed – using the ceiling as technical infrastructure for

attractive goods illumination. In such cases it is less a matter of how the light validates the ceiling itself as an eye-catcher, but mainly concerns the brilliant accenting of goods at the point of sale via the ceil- ing. Advantageous in such cases are luminaire rang- es with a wide spectrum of functions to achieve the desired light impact with differing mounting methods. It doesn’t matter whether a brand selects a concept with just accent lighting, wallwashing, horizontal general lighting or a combination of these – the lighting solution can be installed either as a subtly integrated version recessed in the ceiling or as a flexible solution for tracks. Together with the drywall construction, sophisticated solutions can be created using ceiling ducts, coves or lamellae that model the striking brand presence with ceiling patterns and light effects. How can lighting become a part of brand presentation? Corporate lighting concepts play an important role in the retail sector. These can subtly strengthen the identity of a brand by using a characteristic lighting design that is consistently implemented across regions and branches. Successful corporate lighting is based on two pillars: on the one hand it defines light moods, light impacts and effects that visualise and underline the brand values, and on the other hand the selection of luminaires is decisive for also communicating the character of the brand through their design. While specifying a luminaire design suitable for the image of the store is a com- paratively simple decision, creating a characteristic light atmosphere requires an understanding of how customers perceive light. The interplay of light and surface materials as well as luminaires and ceiling architecture enables the development of brand factors such as high quality, modern spontaneous or natural appearances.

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Blue, diffuse ceil- ing lighting gives the shop an impression of height, and with warm white accent lighting creates a contrast-rich sense of emotion for the products. The Pro Shop in the Centu- ryLink Field soccer stadium, Seattle, USA. Architect: Rossetti Architects. Lighting designer: Devki RajGuru, LittleFish Lighting Inc. Photographer: Arnaldo Dal Bosco.

Rounding off the image with prod- uct design: working with the design of the luminaires The form, colour and construction method of lu- minaires represent the second pillar in a corporate lighting strategy. Modern lighting technology in such cases enables high flexibility with regard to luminaire design with identical light concepts if the manufacturer’s luminaire systems are highly modular and diverse. Lighting tools having the same characteristics across families and types form the basis for a contemporary, holistic design approach. Rich-contrast accent lighting for lively, diversified brand presentations can be elegantly achieved, for example, with recessed ceiling luminaires or with striking spotlights featuring a technical flair. The division into ceiling-integrated lighting, e.g., with downlights and additive lighting systems such as spotlights on tracks or pendant luminaires, is surely the most noticeable differentiation for giving ceil- ings a purist and modern, or else technically expres- sive, appearance using luminaires. Spotlights with their size, shape and colour provide a further option for differentiating the brand image. Silver-coloured luminaires installed on white ceilings emphasise a cool, technical brand appearance in comparison to white spotlights generating a discreet and neutral atmosphere in this context. Decorative luminaires play a particular role in such cases, and their impact is primarily due to the design of the luminaire itself and less due to its light effects in the space. As eye-catchers on the ceiling they characterise the room with their shape and colour, generate associations such as romantic, classic or glamorous, or else establish connections with their ornamental features and materials to specific cultures such as the Arabian or Asian worlds. Lighting design based merely on decorative luminaires is not used in shops because

such luminaires do not usually have lighting tech- nology mature enough to successfully illuminate the goods. Customers may well get the impression that the decorative luminaires in the shop dominate the light concept, but the display of goods with use of light is actually achieved via subtly integrated recessed ceiling luminaires. Radiating individuality: unique posi- tioning via striking light and ceiling details Shops placing an emphasis on storytelling and individuality in their brand communication rapidly distance themselves from conventional white sus- pended ceilings during the concept phase. Such retail outlets see ceilings as a sculptural element for brand presentation by creating a special atmos- phere via material, form, colour and light that signif- icantly differs from normal ceiling designs. Using technical luminaires for highlighting the products takes on more of a secondary role because in such cases the form and colour of the ceiling dominate the overall impression. Ceiling ducts, lamellae and light ceilings are only some of the options available for designing ceilings in a different way. Black ceil- ing ducts can cleverly conceal technical elements such as luminaires, fire protection devices and air conditioning equipment and also emphasise the length of the space. Baffle ceilings also create an elegant impression, although the smooth view from below has a finely uniform line pattern. If the structure runs parallel to the entrance facade a view of the luminaires can be almost completely concealed when the shop is entered, if the spot- lights do not protrude from the baffles. This underlines the impression that the effect of light in the shop is what counts and not the luminaires themselves. Light ceilings also provide an alternative impression of the space, triggering

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fying surface-mounted and pendant luminaires are often pragmatic: suspended ceilings are frequently rejected due to economic reasons – luminaire mounting and cable routing is directly installed on the bare ceiling. Particularly with high shops, pendant luminaires enable mounting heights to be freely selected to thus allow the height of the room to be visually lowered – the sales space is given a more private, intimate character by moving the luminaires into the field of view of the customer. Because such luminaires usually have wide light distribution, general lighting can be achieved but not rich-contrast accent lighting. Fixed, discreetly recessed mounting: recessed ceiling luminaires and directional spotlights: If a purist ceiling appearance is desired where the light impact itself is what counts in the shop and where luminaires should be concealed from customers, recessed luminaires are clearly the right choice. The ceiling appearance remains clean because luminaires do not protrude from the ceiling. The ceiling opening is therefore hardly noticed – clearly structuring the arrangement of the luminaires also contributes to a calm ceiling look. Lighting design- ers can choose between two recessing details: for rapid installation a recessing detail consisting of a covered trim is available which covers rough ceiling cut-outs. On the other hand, a ceiling-flush mount- ing ring has a sophisticated, purist appearance. The transition between the ceiling and ring must however be plastered by the drywall constructor. In addition to wide distribution downlights for gen- eral lighting or wallwashers, directional spotlights are also part of the spectrum of recessed ceiling luminaires. These spotlights have fixed mounting points and use the same mounting details as the downlights, but have pan-and-tilt movement in their frames, providing flexible accent lighting with fixed luminaire arrangements. How can luminaires be intelligently arranged in the ceiling? Because with alignable luminaires no direct connection exists between the arrangement of luminaires and light effect, many lighting designs can be implemented with very different ceiling ap- pearances. This in turn gives interior designers high flexibility for designing when supporting the brand identity of the shop via the luminaire arrangement. The design principles of symmetry, proximity, uniformity and continuity provide a good basis for the grouping of luminaires, and these are then supplemented by specifying luminaire mounting height and drywall details. Principles of good design: creating interesting rhythms with points and lines Recessed ceiling luminaires and spots appear as points on the ceiling, thereby creating a design

associations to daylight with their brightly luminous surfaces. The diffuse distribution of conventional light ceilings corresponds to a cloudy sky though and not to radiant sunlight with brilliance and rich-contrast modelling. Supplementing light ceil- ings with spots for directed light therefore makes sense to give the products a radiant appearance. Light strips on ceilings represent a more purist version of the light ceiling, and their form and alignment can be specifically used to help guide customers through the shop. In addition, countless further options are also available for establishing unique ceiling details with a particular brand. If new details are to be used over several retail outlets, it is recommended to test the concept, installation and new alignment of the luminaires first so that any minor weaknesses are not reproduced. Which luminaires are suitable for which purpose with ceiling mounting? A fundamental differentiation in luminaires is provided by classifying installations into flexible or fixed mounting. The flexible mounting solution with track comes from the desire for a technical appearance with a lower-cost by installing directly on the ceiling. A recessed version on the other hand is needed if the track should discreetly blend into the ceiling. Lastly luminaires with fixed mounting are prescribed. Flexible but visible: tracks for surface-mounting and suspending: The flexiblemounting of spotlights uses tracks into which the luminaires can be simply inserted, removed and repositioned in another location. With changing lighting requirements, e.g., with frequent seasonal or product changes or different interior arrangements, this method has often proved advantageous because no re-cabling is needed. The track itself can be fixed directly to the bare ceiling or to a substructure. A system consisting of suspended tracks is suitable if height differences exist, caused for example by air-condi- tioning ducts. If indirect ceiling lighting is desired, a light structure with secondary light emission can be used instead of a conventional track. Spots can be fitted, as with surface-mounted tracks. Flexible and discreet: tracks for recessing: Installing recessed track is recommended for creating calm, smooth ceiling appearances when viewed from below. Flanged tracks for suspended drywall ceilings are available for installation flush to the ceiling. Following drywall work the electrician can then comfortably install the tracks. The tracks can also be used as infrastructure by using hooks for hanging decorative objects. Fixed, visible mounting: surface-mounted and pendant luminaires: If a ceiling appearance is pre- ferred with individual light points instead of several lines of tracks, surface-mounted and pendant lumi- naires are the right choice. The reasons for speci-

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uniform ceiling structure in which luminaires are almost invisibly integrated. A similar effect of con- cealment is also created by ceilings with opulent, decorative elements. Summary: presenting both the brand and products with light and luminaires The success of corporate lighting concepts lies in the interplay of light atmosphere and the correct selection of luminaires. In the first step the at- mosphere is defined, establishing either a natural or theatrical impression in the shop. Selecting the right luminaires with respect to suitable lighting technology and attractive designs only takes place in the second step. In such situations the ceiling provides a diverse infrastructure for positioning the required lighting tools and also for formally in- tegrating these into the ceiling in accordance with the retail design. Discreetly displaying the ceiling with light or achieving a striking eye-catcher allows the operator to present a holistic experience for shopping purposes. LIGHTING RECOMMENDATIONS FOR CEILINGS IN SHOPS • Bright ceiling colours and materials as well as indirect light, particularly with low rooms, help to generate an impression of distance. • To attract the attention of customers to the products in the shop it is recommended to use highest illuminance levels at the point of sale, and to reduce other areas, e.g., presentation of the ceiling, to this aim. • Designing retail stores should place the display of the products and the spatial experience in the foreground. Recessed lu- minaires are suitable for this purpose as are surface-mounted luminaires and spotlights in the same colour as the ceiling. • Manufacturers with a wide spectrum of luminaires and differentiated light distribu- tions offer lighting designers flexibility in design to realise lighting solutions featuring various mounting methods. • Spotlights and tracks are suitable for high levels of flexibility, creating a discreet ceiling appearance with a luminaire colour corre- sponding to the ceiling or by integration into a ceiling duct or between lamellae. • Defining zones for shop-in-shop designs and distancing these zones from their surroundings can be achieved by using the mounting height and other luminaire designs. www.erco.com

pattern characterising the atmosphere in the space. The standard solution for uniformity is based on a regular, orthogonal pattern. Both the light effect and ceiling appearance quickly become monoto- nous in such cases though. Supplementary accent lighting enables a further pattern to be added or the light points to be brought together as pairs, groups or lines. This lessens the monotony of a uniform layout and emphasises the axis of a room. The design principles can also be applied to arranging spotlights on tracks to create groups for example, in this way avoiding a subordinated configuration of the spotlights. This applies particularly to accent lighting using spotlights in shop window displays. Playing with vertical axes: struc- turing the room via the mounting height In addition to a horizontal arrangement of lumi- naires, the retail atmosphere can also be adapted using the mounting height. If pendant luminaires are installed at lower heights – independently of whether these are technical or decorative lumi- naires – a personal association is created between customers and the luminaires compared to solu- tions featuring downlights installed flush in the ceiling. Shop-in-shop designs are particularly suit- able for defining zones and separating these from their surroundings by using the mounting height with decorative luminaires. This approach can be implemented either directly with pendant lumi- naires or with use of suspended ceilings. However, pendant luminaires should be positioned above reach height, thus avoiding handling by the public. To emphasise the height offset of an addition- ally suspended ceiling, cove lighting is suitable that emits diffuse light subtly emphasising the graduations in height. Illumination of the cove with warm white or neutral white light is discreet in such situations. Coloured lighting reflecting the brand colour is an alternative solution to achieve more emotion and strengthen the association to brand identity. Light, not luminaires: concealing luminaires with the drywall con- struction The drywall construction offers diverse options for removing the luminaires from the field of view and focusing on the light effect on products. Black lumi- naires in dark-painted ceiling channels or in round, dark apertures quickly take the lighting tools away from the field of view. The result is frequently the dual effect of a large, bright surface contrasting with individual, dark strips. Lamellae configured in parallel or as a grid also conceal luminaires. These, however, do not create the dual effect of a ceiling channel but fascinate with their finely structured,

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Lighting for public spaces In many situations, particularly when people are concerned about security, there is a tendency to over-light a park, plaza, street, or other public space. But in fact, too much lighting can be just as bad as too little lighting.

T he key to developing a good plan is to relate lighting to the evening functions of a particular space, because in the larger view, street lighting is more than just a technical requirement, a security need, or a design element. It can be thought of and utilised in terms of how the type, placement, and wattage affect how a street is perceived and used. Although its primary purpose is night-time visibility for security and safety, successful street lighting takes into account the human users of the street, not simply the requirements set by local public works agencies. For instance, one way to emphasise pedestrian activity over automobile traffic is to replace standard overhead street lights with smaller-scale, more frequently spaced fixtures geared to pedestrians. Why is lighting important? • Increases safety in areas that people use, such as doorways and bus stops. • Aids in geographic orientation, as people can use well-lit focal points (fountains, buildings, bridges, towers, sculpture, et al .) as landmarks to help them find their way. • Highlights the identity and history of an area; well-lit historic details draw attention to the uniqueness of an area. • Creates a sense of drama. What are the ways to use lighting? • Landscaping: Trees lit with small white ‘bee’ lights have become a popular sight in many cities even outside the holiday season, perhaps because they impart a magical feeling and bring positive attention to streets and public spaces. • Transit stops: People feel more secure when bus, train, or trolley stops are well-lit. Lighting also draws attention to and encourages use of such amenities. • Entrances: Careful evening lighting around building entrances – especially in residential building doorways – contributes to the safety of an area even more than indiscriminate use of bright lighting that is not focused on areas of use. • Edges : The edges of a park or plaza – particularly any interesting gateposts, fences, and specimen trees visible from the adjacent

street – should be lit to help define and identify the interior space. Buildings located on the edges of a park can also have seasonal lights, bringing attention to the larger area beyond the park. • Retail displays: Lighting retail displays, even when stores are closed, not only provide ambient light for the street, but also encourage window-shopping. This tactic can help to increase the number of people on a street, which is a major contributor to security. • Architectural details: Lighting entrances, archways, cornices, columns, and so forth can call attention to the uniqueness of a building, place, or area and bring a sense of drama to the experience of walking at night. • Signage: Well-lit maps, along with directional and informational signage, are essential to providing orientation at night. • Focal points: Lighted sculpture, fountains, bridges, towers, and other major elements in an area, especially those visible to passing pedestrians and vehicles, provide another form of wayfinding. • As a traffic-calming device: The difference between a pedestrian-lit street and a highly illuminated highway automatically signals drivers that they have entered a new and different zone, and compels them to slow their driving speed. How much lighting is enough? Different sources of illumination vary significantly with respect to the quality of light they provide. This, in turn, has a dramatic effect upon the appearance and safety of the street at night. High-pressure sodium, the light source typically used in city street-light fixtures, casts a yellowish-orange glow

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Sidewalk placement : In addition to the technical criterion of the lights themselves, the distribution of lightposts along the street can have a dramatic effect on the nature of the street and its secondary uses. • Staggered arrangement: Staggering lightposts across the street from each other allows for an arrangement that is less formal, and can potentially use fewer lights, since there will be some overlap illumination. • Opposite arrangement: Light fixtures that are aligned directly across the street from each other set up a more formal condition. Opposite arrangement allows for spanning the street with banners or holiday lights. • Sensitivity to existing conditions: Although a standard distance between street lights might be specified, make allowances to respond to existing or recommended circumstances, such as a street café, compatibility or conflict with existing traffic signals, benches, bus stops, and telephones. • More closely spaced lightposts create a stronger edge along the sidewalk, reinforcing the sidewalk itself as an exterior habitable space. • Using more numerous and closely spaced light fixtures is one way of lowering the wattage, and therefore potential glare, of each fixture. Street scale is an important factor in determining the appropriate configuration of street light fixtures. Broad avenues require fixtures of a different scale from narrow side streets, because the arc of light created by a source varies with its height from the ground. Very wide streets may also require that the light source be extended further over the roadbed. Getting light back onto the sidewalk, on the other hand, requires a pedestrian fixture at a

that results in poor colour rendition; it compromises visual clarity and detracts enormously from the overall quality of the night-time urban environment. By contrast, metal halide as a light source produces a soft, white glow that renders colour accurately; it offers better visual clarity, improves reaction time for vehicles, and requires less wattage for the same perceived visibility. LED lighting, however, is becoming the standard today. Quality of light is also influenced by quantity of light – or more specifically, by the relationship between the brightness of a light and one’s distance from it. Light becomes more diffuse farther away from the source, so for a given brightness, there is a range of heights within which the source should be located to create the desired quality of light. Height of the luminaire: Although luminaire mounting heights have typically increased over the past few decades as lamp technology has allowed for higher and brighter road lights, the result is often lighting designed for the car or the parking lot, not for the person walking on the side of the street. Reducing the luminaires’ height, and adjusting it to the scale of the person on the sidewalk, calls for more fixtures, which in turn means that the luminaires, the poles, and their placement can have an impact on the streetscape. Type and wattage : However, as a luminaire’s height is lowered, the lamp’s brightness must be adjusted so that is does not create excessive glare for pedestrians. At the same time, the wattage must also be capable of adequately lighting the road. For instance, 2,5-3 m luminaires might be augmented with overhead lights because, depending on the street width, the wattage needed to light the street would create a blinding glare for the pedestrian.

In addition to the technical criterion of the lights them- selves, the distri- bution of lightposts along the street can have a dramatic effect on the nature of the street and its secondary uses.

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