Lighting in Design Q4 2018

www.crown.co.za Q4 - 2018

Restrained lighting solution for state-of-the-art manufacturing facility

Shopping centre designed as an iconic night time beacon

Natural and artificial lighting combine at university centrepiece

Ed Space

A t the end of October, members from the lighting industry gathered for an infor- mation session in Pretoria held jointly by the National Regulator for Compulsory Specifications (NRCS), the Department of Energy and the United Nations Development Programme (UNDP). Information shared was around the planned regulation of general service and directional lamps for general illumination using incandescent, halogen, fluorescent, high intensity discharge, LED, and other light sources. The ramifications of the topic were clearly evident as the room quickly filled beyond capacity with major players from the lighting industry. Theo Covary, Project Manager at the UNDP noted that while the country’s Standards and Labelling Programme in the past focused primarily on white goods, lighting has long been on the radar, and will, within the next few years, become the first electrical product to be regulated in the SADAC region. He noted that the NRCS was fully behind the process of including new tech- nologies in its regulations. “As we speak though,” he said, “there are still a lot of non-compliant lighting products entering the country and the UNDP has assisted in destroying the millions of CFLs that have been seized.” He believes that the indus- try needs to be regulated to level the playing fields, with the mandate of providing quality, affordable, energy efficient lighting to the public. Education will be imperative, and social media campaigns – seen as the best way to connect with the general public – will focus on the reasons to move away from CFLs. A labelling systemwill also be developed educating consumers on, for instance, how to buy a lamp, lifecycle costing and the difference between watts and lumens. Technical Specialist at the NRCS, Langa Jele, explained that while there were already some regulations in place, the new regulations would be based on a mini- mum energy performance standard, effectively banning older technologies. Although much of the groundwork has been done, including feasibility studies, there is still a lot to do before the regulations are approved, including stakeholder engagements, risk assessments and the time consuming approval process. Jele be- lieves that a date of November 2019 for final publication of the regulations is feasible. Michael Scholand, an industry expert from the United States presenting his ex- periences in other countries, noted that the decision to regulate lighting was in line with what was happening globally. “The best approach is to define general lighting, define the parameters around the categories the products fall into in the regulations and then, in the regulations, set the requirements for, for instance, efficacy levels, which will have an impact on which technologies can be utilised.” A heated question and answer session followed where concerns were raised about the proliferation of illegal exports, the cost implications of newer technologies for the poor, and the impact the regulations will have on manufacturers. There is no doubt that regulation of the lighting industry is sorely needed, and we will be following this topic closely over the coming months. Presentations from the information session are available to download at www.savingenergy.org.za Editor: Gregg Cocking (lighting@crown.co.za) • Advertising manager: Carin Hannay (carinh@crown.co.za) Layout: Adel JvR Bothma • Circulation: Karen Smith Cover: Thavhani Mall. Image courtesy: MDS Architecture. Published by Crown Publications cc PO Box 140, Bedfordview, 2008 - Tel: +27 (0)11 622 4770 Fax: +27 (0)11 615 6108 - Website: www.crown.co.za ABC 2 nd quarter: 3 568 • Printed by: Tandym Print All issues of Lighting in Design can be viewed on our website. Visit www.lightingindesignmagazine.co.za Gregg

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IN side ...

EDspace Editor’s comment.

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AHRLAC Manufacturing Facility A restrained lighting design was called for at the AHRLAC Manufacturing Facility, which is located at a functioning airport. The brief to architects, Riekert & Osman Studios, was to design a state-of-the-art 10 000 m 2 industrial manufacturing facility. Thavhani Mall TheThavhani Mall, designed by MDS Architecture, is a 50 000 m 2 regional shopping centre which is centrally located in Thohoyandou. It was carefully planned since its inception to offer substantial and meaningful benefits for the local economy. Sol Plaatje University Library and Resource Centre Designworkshop was successful in a two-stage architectural competition towards conceptualising and delivering a Student Resource Centre as the functional and physi- cal centrepiece of university life, including library, teaching, study, and social space. Lighting-as-a-Service Technology professionals have been lauding the value of as-a-Service offerings for many years now, and Lighting-as-a-Service (LaaS) promises to deliver the same. The future for smart street lighting Network connectivity and intelligence integrated into LED-based luminaires form the backbone of smart buildings and cities, and make the IoT vision feasible. Lighting in Design examines how smart lighting is infiltrating South Africa beyond smart homes. Residential lighting Much like the kitchen, the dining room is a space where family and friends get together to eat, entertain, chat and share special memories. A room with so many applications needs flexible lighting that can be both functional and ambient. News A round up of the latest industry lighting news, including a multi-branded collection from Streamlight, 40 years of BEKA Schréder, a new lighting showroom in Fourways fromTouchstone Lighting and the announcement of the L A M P 2018 winners.

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Products New releases from ELDC,Waco, Eurolux, LEDVANCE and Regent Lighting Solutions.

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Light touch required for unique A restrained lighting design was called for at the AHRLAC Manufacturing Facility, which is located at a functioning airport.

ing of the aircraft, the process of the design and the production lines. Accommodation for auxiliary services is included and administrative spaces for staff and visitors exude contemporary comfort. The machining and assembly facilities are posi- tioned alongside one another and provide the oppor- tunity for future expansion of both themanufacturing and assembly lines without interruption to existing activities.The factory envelope components feature translucent louvered clerestories which allow for natural light and ventilation to reduce the total cost of energy usage in the energy intensive production line. Mezzanine offices for the technical team overlook production facilities to ensure that specialist techni- cal staff members are in the immediate vicinity of production and assembly. The administration build- ing was orientated in a northerly direction to allow natural light into the offices and views to the aircraft runway and visitor’s reception area. A private lounge is also located in the administration building, which serves as a waiting area for private flight charters with direct access to the apron and a visual link. An intricate system of construction and ma- terials ensures an advanced manufacturing facility, which comprises highly secure storage areas, specialised machining/manufacturing facilities and aircraft assembly lines, fully equipped spray booth facility, administration offices, recreation facilities, aircraft hangars, exhibition spaces and aircraft taxi- ways. The building envelope consists of structural

T he AHRLACManufacturing Facility is a special- ised and unique manufacturing development. The client, Aerospace Development Corpora- tion, in collaboration with the Paramount Group, is responsible for the design, production and support of the versatile multi-purpose AHRLAC aircraft. The brief and scope to architects, Riekert & Osman Studios, was to design a state-of-the-art 10 000 m 2 industrial manufacturing facility whilst celebrating its African heritage in a contemporary manner. The building had to be built within a tight construction timeframe, not be costly in terms of long-term maintenance, and a modular design was favoured by the client so it can be effort- lessly duplicated elsewhere once the company expands abroad. The development, in the northern region of Pretoria, harnesses the accessibility and additional security features provided by the Wonderboom Airport with its superb access to national road networks, import and export opportunities, and the runway and air space. The programming and accommodation of an air- craft manufacturing plant required a full understand-

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factory

steel elements, off-shutter concrete and insulated composite wall panels with excellent energy and structural performance and the benefit of lowmain- tenance and fairly quick construction time. “In an environment like this, where almost everything is manufactured in-house, lighting was imperative,” says Riekert & Osman Studios’ Rafeeq Osman. Because of this requirement, Rawlins Wales and Partners’ lighting design specialists played an important role in the project. Externally, because the facility is located at an operating airport where no uplighters are allowed, lighting is limited to security lighting. Internally though, it is a different story. Visitors are greeted, when they enter the reception, by a 3 m diameter, 1,5 ton suspended fitting incorporating downlights in a purpose-made reclaimed Oregon pine ‘sphere’. “Elsewhere, what dictated most of the light fittings in the office areas was the ceiling design,” says Osman. “We tried to stay away from long fluo- rescent tube lights and concentrated on spot light- ing, mostly with downlighters. At the work desks, we installed motion controlled lights – for energy saving – with task lighting for computer work.” He explains that the amount of natural lighting in the offices – for instance, the technical offices have floor to ceiling windows – was driven by the client. “As the staff work under considerable pressure and stress, involving long hours, sometimes through the night and over weekends, the client wanted tomake

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the offices as hospitable as possible for them, by maximising natural light and allowing views to the natural and landscaped gardens.” Osman says that the way in which a factory environment is illuminated has changed drastically from the past. “Where previously one would have installed traditional lamps, such as metal halide units which suck energy, nowadays, energy costs and a better understanding of the effects of lighting have driven change.” Natural andmuted colours throughout, reclaimed timber in key areas, and a ‘traditional’ recreational boma reference the African identity of the client. Recreational outdoor spaces with generous green areas – i.e. sports field, boma, canteen garden with pool and natural veld grass – were introduced in contrast to the industrial environment to serve as a healthy retreat for staff and visitors in an otherwise fast paced and highly stressed environment. The client’s foresight and aspiration, along with the determination of the project team, which ex- ecuted the development within strict time frames, have culminated in the most modern and advanced aircraft manufacturing facility in Africa. “Despite a tight deadline for the start of production – any delay would have cost the company millions – this, our first proper job as a studio, met the client’s vision of an international-standard facility. From a cutting edge manufacturing platform to the materials used, the design is not something you will often, if ever, see in a local factory,” concludes Osman.

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Lighting for the specific areas Machining facility:

LED lighting installed and equipped with motion sensors in ablution, office and boardroom areas to minimise energy consumption, with single- and three-phase electrical supply, including vacuum and compressed air. Assembly workshop: LED lighting installed and equipped with motion sensors in ablution, office and boardroom areas to minimise energy consumption, with single- and three-phase electrical supply, including vacuum and compressed air. Administration building: LED lighting installed and equipped with motion sensors in ablution, office and boardroom areas to minimise energy consumption. UPS back-up power including 2 x 800 kVa generators for emergency electrical supply. Hangar: LED lighting installed and equipped with motion sen- sors in ablution, office and pilot briefing room areas to minimise energy consumption. Canteen: LED lighting installed and equipped with motion sen- sors in ablution areas to minimise energy consumption. Guardhouse and entrance: LED lighting installed to minimise energy consump- tion.

PROJECTTEAM Client: Ahrlac: www.ahrlac.com Architect: Riekert & Osman Studios: www.rostudios.co.za Main contractor: Archstone Construction: www.archstone.co.za Project manager: Pro Arnan (Principal Agent): www.proarnan.co.za Electrical engineer: Rawlins Wales and Partners: www.rwp.co.za Photographer: Studio88 Photography: www.studio88.co.za

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Thavhani Mall, an iconic night time beacon The Thavhani Mall, a 50 000 m 2 regional shopping centre, is located in the centre of Thohoyandou in Northern Limpopo and has been carefully planned to offer substantial and meaningful benefits for the local economy.

T he shopping centre was designed by MDS Architecture for clients Flanagan & Gerard, Thavhani Property Investments and Vukile Property Fund. Donald McGillivray, the MDS Architecture part- ner who headed up the project, says that Thavhani Mall is the focal point of the large mixed-use urban precinct mega development,Thavhani City, which is being developed on a 27 ha site inThohoyandou.The precinct includes an office park, a value shopping

centre, motor showrooms, medical clinic and a hotel with conference centre. “TheThavhani City Precinct is likely to create a new city centre forThohoyandou. The shopping centre design incorporates an option for a further 20 000 m 2 extension as part of Phase 2 of the existing shopping centre,” he says. Entrances and exterior treatment Thavhani Mall has five entrances – two on the upper level and three on the lower level.The entrances to the mall feature high volume canopies held up by abstract structures which evoke the language of the Baobab tree. The entrance design is mindful of the concept of pause and gathering. “The entrances resemble shaded, sculptural baobab trees under which visitors may pause before they enter,” says McGillivray.

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Bright colours have been incorporated into glass entrance lobbies to reference the colourful regional artwork and fabrics endemic to the area. Lighting at the entrances draws visitors into the building. “Wind lobbies coming off each entrance have coloured vinyl, creating a lingering glow in the evening. During the day, colour glows into the mall are created by sunlight surrounding the entrances,” explains McGillivray. “It was critical to illuminate the external lighting to the five entrances properly so as to create an iconic night time beacon and make a feature of the entrances, highlighting the baobab tree and lantern concepts to the wind lobbies,” he says. Uplighting and downlighting have been used to highlight the entrances and entrance features, while starscape lighting has been used at the en- trance ceilings. The wind lobbies to each entrance are lit up at night to create a lantern effect with the different colours of glass used. The exterior finish of the building is a combination of painted bagging in earthy tones and face brick in terracotta and beige satin. “Given the high humidity and rainfall in the area, maintenance was a consider- ation in the selection of finishes,” says McGillivray. Interior spaces The mall’s interior features double volume spaces. McGillivray says, “Openings have been created in the floors to allow the abstract trees to push through to the upper level from below.” There was a conscious effort to create as much natural light as possible, which was achieved by the inclusion of high level clerestory windows. The building is completely illuminated by the natu- ral light from these windows during the day and complemented by accent lighting. “Internal mall

lighting was consciously kept to a minimum dur- ing the day,” says McGillivray. A common thread of recessed cove lighting and ceiling bulkhead lighting was used to tie the upper and lower levels mall together. The feature courts within the mall are where zones were created and each court has a specific theme and lighting to suit. A pixelated leaf floor pattern incorporated into the floor of the mall creates the illusion that the ‘trees’ have shed their leaves. The colour palette is a timeless black and white combination, which adds a contemporary feel to the shopping centre. It is infused with earthy blues, browns and greens while vibrant splashes of or- ange, yellow, blue and red uplift the monochromatic scheme through mall furniture. The three main circulation courts are double volume and bathed in natural light from clerestory windows wrapping around the high level perimeter and each of the courts has its own aesthetic theme. The Edgars court references the earthly ter- racotta via an eye-catching light feature made of terracotta pots turned upside down. TheWoolworths court has a custom-made light fitting constructed with Consol jars by Optique Lighting Design, while the central court – the main feature court for promotions – has tube light fittings to give it scale. The central court also includes a glazed feature lift. Mall facilities An interesting aspect of Thavhani Mall is that it doesn’t include a dedicated food court. Instead, focused food offerings are clustered around the entrances. “The upper level at entrance four is where visitors will find fast food outlets while

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entrance five offers restaurants. Entrance three is also focused on food, and the other two entrances on the lower level are banking areas. Prayer room facilities are available and there are two large ablution amenities on each level. The design of the upmarket ablution facilities includes an unusual configuration to make smaller areas work better, using central islands with vanities in the middle of the space so visitors can walk around them for easy circulation patterns. As temperatures in Thohoyandou soar to highs of up to 50 degrees Celsius in summer, the interior is climate-controlled. All clerestory windows on the south side are well shaded to ensure no heat build- up or unnecessary glare. In addition, the massive canopies at the entrances ensure heavy shading. Thavhani Mall has domestic water/fire tanks, so its water supply is fully backed up. It also has backup generators and many tenants have their own generators as well. The onsite borehole is used for irrigation and has a shutoff valve that can be opened if the domestic tanks run out of water. “Feature lighting is critical to the look and feel of a mall, and day time clerestory lighting in the internal mall spaces creates a more natural feel. Furthermore, energy saving lighting is critical in a modern mall environment, as is creating design control zones for each shop window display so the lighting can be controlled to add to the general atmosphere,” concludes McGillivray.

PROJECTTEAM Client: Flanagan & Gerard; Thavhani Property Investment; Vukile Property Fund Limited Tenant Co-ordinator: Orion Project Managers: www.orionpm.co.za Architect: MDS Architecture: www.mdsarch.co.za Quantity Surveyor: Norval Wentzel Steinberg: www.nws.co.za Structural/Civil Engineer: L & S Consulting: www.lsgauteng.co.za Electrical Engineer: Taemane Consulting Engineers: www.taemane.co.za Mechanical Engineer: Q-Mech Consulting Engineers: www.qmech.co.za Fire Engineer: Specialised Fire Technology: www.specialisedfiretechnology.co.za Main Contractor: WBHO Construction: www.wbho.co.za

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The centrepiece of university life in Kimberley In 2014, Sol Plaatje University (SPU]) opened its doors as the first new University in South Africa’s democratic era. Strategically close to the Square Kilometre Array Telescope [SKA], its initial intake of 135 students is expected to grow to 7 500 within its first 10 years.

L ocated in Kimberley’s Inner City, a progressive Urban Design Framework seamlessly incor- porates existing civic, public and education stock with new purpose-built university buildings, positioning tertiary education as an integrated part of Inner City life. Perhaps even its heart. Designworkshop was successful in a two-stage architectural competition towards conceptualising and delivering a Student Resource Centre as the functional and physical centrepiece of university life, including library, teaching, study, and social space. The key question the architects explored was what this emerging typology could optimally be and enable in the South African reality of a globally inte-

grated world. Ancient images of knowledge-sharing are of people gathered around elders, thought- leaders and gurus, in Public Space. Depending on where and when, this could be by the side of a river, under a tree, in a public square or on a street-side. This is learning and knowledge generation in a social setting.Within society and indistinguishable from it, learning is enabled by the practical and perceived reality of life as it’s experienced, often on a platform of traditional cultural practice. When information was recorded in writing, the emblematic image of learning is often the quiet study table surrounded by books. This is the dis- semination of accumulated knowledge, most com-

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construction.The library scales this heritage up into a 22 cm thick freestanding concrete shell rising up to 36 m high and lifted off the ground to reveal a single hollowed-out volume ascending upward to its highest point overlooking University Square. The inverse of Kimberley’s iconic Big Hole dia- mond mine, the building is a distinctive sculptured object, arising from the endless horizontality like a ‘koppie’, ‘brakdak’ house, or mine shaft. In a single material, concrete is structure, enclosure, climatic attenuator, flexible use-enabler, extended tradition, and noble experience. In everyday university life, the building is a refuge, a 24-hour winter lounge and summer verandah. In a world of scarce resources, it is highly energy efficient, allowing in the right amount of natural light with significantly mitigated heat-gain or loss, the internal temperature further moder- ated by hot and cold water pipes embedded into concrete floors. In the city, it’s a landmark of democratic learn- ing, social and cultural exchange, and a generator of economic potential which always comes from empowered knowledge and ideas.

monly recorded outside of the direct experience and as a more linear and one-directional transmis- sion abstract from specific cultural settings. The ‘neutrality’ of science. The SPU Library and Resource Centre inte- grates both. It’s a social place where people make themselves available to wide-ranging incidental and planned interchange in the course of daily life, both in physical space and online, with and without books, collectively and in solitude, directed and enabled by mentors or among themselves. It is at the same time a tree, the side of a river, a public square, and a street. Centred on a raked public forum, the ground floor is an extension of Kimberley’s pavements, paths, squares and gardens. It’s a public space sheltered from the cyclical hot and cold extremes of the arid climate. Ascending from public to private, each additional floor is another ‘public square’ ac- cessed from its perimeter to enable 3-dimensional exploration of a continuous knowledge-scape. Solid grass-reinforced moulded mud forms typify South Africa’s interior vernacular ‘brakdak’

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The role of lighting

according to its exposure, and one high up over- looking University Square, the primary open space for the campus. These were positioned and sized with project sustainability consultants, PJ Carew Consulting. Further to this, narrow skylights let in limited light through the roof into the upper level where perimeter light is lower. Key to deep light penetration is the 2,5 m gap between the concrete shell and the floor slabs.This allows natural light that would otherwise only ben- efit one level to benefit the level above and below. PJ Carew Consulting and Aurecon applied GBCSA principles with regards to daylight savings, including the use of occupancy sensors, photocells and timers. In addition to this, care was taken that no lighting illuminates the atmosphere to ensure there is no light pollution.

Accommodating social, library, study, research and administration functions, Designworkshop’s approach to lighting was threefold. First, to satisfy functional requirements for each of these activities in a zoned, cost-effective, durable, daylight respon- sive, and otherwise energy efficient way. Second, to use lighting to reveal the primary qualities of the building at night – for the five huge openings in the concrete walls to glow, themselves like city-scale light fittings – and for the totally transparent ground floor to be like daylight to welcome 24/7 study and illuminate the surrounding pedestrian routes. Third, to illuminate the form of the building as a sculptural object marking the university in the urban landscape. Natural light From the outside, the project is only a concrete shell with just the five openings to let light in. Natural light therefore became a primary influence on the project’s functionality, efficiency, experience and aesthetic. To allow the right amount of natural light deep into the footprints and mitigate heat-gain or loss, only one opening was positioned per orientation

Lighting requirements The ground floor 24/7 study space:

Part of the brief was for the ground floor to operate 24/7 after the library on the upper levels had closed for the night. It was therefore critical to provide

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lit with suspended LED fittings positioned amongst suspended acoustic baffles to create amply lit and acoustically comfortable environments within which to discuss, work, read and study. A successful lighting design “The lighting assisted in making the building com- fortable and functional, thereby enabling it to be an inviting and usable extension of every day campus facilities,” said Janine Beauchamp from Design- workshop. The use of 4000 Kelvin (cool white) throughout the building ensures the light source assists in increasing concentration and productivity. “Aurecon played a vital role as the electrical engineer on this project, ensuring that the required lighting levels and energy efficiency were achieved within the constraints of the budget,” she concluded. PROJECTTEAM ACHITECT: Designworkshop: www.designworkshop.co.za CONTRACTOR: Murray & Dickson: www.mdconstruction.co.za ELECTRICAL ENGINEER: Aurecon: www.aurecongroup.com ENVIRONMENTAL: PJ Carew Consulting: www.pjc.co.za LANDSCAPE ARCHITECT: Insite Group: www.insitegroup.co.za

sufficient lighting levels in this area at all times of the day. Fluorescent T-bay fittings were utilised to achieve the required illumination levels. The courtyard: As an extension of the ground floor study area and the University Square, Regent double-sided Europa post mounted fittings provided connection to the public lighting elsewhere on the university precinct, and sufficient lighting to allow the secure courtyard to be utilised as an extension of the indoor study area on summer evenings. Circulation area between floors: Here, floodlights placed on the columns light the inside face of the concrete to create a more gently lit area to transition between the study and reading areas. Surface cylindrical LED fittings with downward illumination are located along the edge of each floor, and in the ablution areas, functional lighting was required.

Upper floor study space: Open, flexible floor plates on the upper levels are

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The future for smart street lighting

Network connectivity and intelligence integrated into LED-based luminaires form the backbone of smart buildings and cities, and make the Internet of Things (IoT) vision feasible. Lighting in Design spoke to BEKA Schréder’s Daniel Kasper, Product Development Manager, and Grant Combrink, Marketing Manager, about how smart lighting is infiltrating South Africa beyond smart homes and the latest commercial developments.

“W hat is important to us is the product itself – there are a lot of the buzzwords to do with connectivity, but you can’t connect something to nothing. Our main focus is the product, because ultimately, we want users to manage our products the best they can from a performance, energy and monitoring point-of- view,” says Combrink. “In terms of smart lighting, a product can be ‘basic’ smart or it can be very complex and sophisticated,” explains Kasper. He believes that – at this point – we are still at the early stages of smart lighting, commonly referred to as ‘remote management’, i.e. the remote control of a light. BEKA Schréder’s work in remote management began in 2008 when the first management system was deployed, but, as with any other new device, Kasper believes that smart lighting will only get traction when it offers substantial benefits to the end-user while being easily in- tegrated to the existing IoT platform. Combrink thinks the smart home bubble first has to burst for smart lighting to filter down to other sectors. “You can find smart lighting online these days. Once smart lighting in the home has become the norm it will start filtering through in the market and, when it becomes successful, it will become a demand in other segments very quickly. The preparation for that is already hap- pening in the background,” he says. Kasper adds, “In the commercial sector, smart lighting has a fair bit of traction because it pays off quite quickly and adds value to building

management.Where I see the change for street lighting is when municipalities start to outsource the maintenance of luminaires. As soon as that happens, the companies performing the main- tenance will be very interested in recovering a return on their investment as quickly as possible”. The future of smart lighting “Currently, there are too many configurations of luminaires and customers don’t know which configuration to choose,” says Kasper. “I see smart lighting simplifying things. A self-adjusting luminaire will allow users to have one type of configuration – the luminaire will be smart enough to adjust itself in respect of colour tem- perature, photometry and light intensity on site. “BEKA Schréder manufactures luminaires to be as ‘plug-and-play’ as possible, with con- figuration, commissioning and training as part of the package, along with connectivity to a third party,” says Combrink, noting that with new technologies come requirements for different skillsets. “You need data analysis, network understanding, and so on, so it’s an upskill to other technologies.” He foresees that data and analytics will become imperative for end users. “The maintenance aspect of street lighting is going to shift; maintenance teams will be data collectors added to their current role” With technology changing so quickly, there is a possibility that luminaires could analyse data through video. “This will be different to what we currently use video streaming for,” says Kasper.

Smart lighting column.

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Owlet IoT Smart Hybrid Architecture.

“The luminaire will analyse the video footage ‘on- board’ data and determine which scenario to report, i.e. report traffic accidents and crimes.” He also believes that energy saving will continuously im- prove with LEDs and, as a result, the load demand of street lighting will be much less than what it is now. “I also think we will see more dynamic street lighting, with different colour temperatures to suit different applications.” Is Africa ready for smart lighting? One of the biggest remote monitoring projects BEKA Schréder is currently working on is the Bus Rapid Transit (BRT) route through Kempton Park. The company has already supplied 1300 luminaires, with the second phase taking this figure to around 3000. The main reason for not experiencing a major roll-out of smart luminaires in South Africa and abroad relates to financial reasons.The technology is ready and can be deployed almost anywhere in Africa. “People don’t do long term cost of owner-

ship calculations; they look at short term costs,” says Kasper. “Every municipality to which we present this technology is very interested and would like to deploy management systems within their district. Luminaires will become smarter and, with electronics becoming cheaper, in a few years we will have luminaires that have all the hardware installed to be smart. This ‘smartness’, if I can call it that, will then only add a small percentage to the total cost of the standard version and just requires to be activated once required.” These added costs come with a host of advan- tages. “For me, the benefits are that you increase service delivery by providing light with no, or limited, downtime and, aligned with a reduction in energy consumption, resulting in a reduced CO 2 footprint,” explains Combrink. Future risks that need to be considered centre around the issue of connectivity. “If hackers man- age to hack into city infrastructure they can cause a lot of damage. For us this risk is managed and reduced by integrating the highest levels of cyber security and continuously upgrading to prevent any unauthorised access,” concludes Kasper.

www.beka-schreder.co.za

LEDlume-midi LED streetlight with remote management node.

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Why Lighting-as-a-Service is set to grow

Compiled by Mia Andric

With IT becoming so much a part of every area of business, it was only a matter of time before certain IT industry concepts moved into other spheres. Technology professionals have been lauding the value of as-a-Service offerings for many years now, gaining improved efficiencies and cost savings, and Lighting-as-a-Service (LaaS) promises to deliver the same.

L aaS is similar to leasing in that it avoids the need for the huge upfront capital outlay required to outfit a building with new LED lighting systems, but it goes much further. With LaaS, the lighting supplier remains responsible for monitoring and maintaining lights, including making any replacements.The supplier guarantees uptime and light levels, often specified in contractual lux levels. LaaS deals also ensure that the supplier looks after recycling and other end-of-life issues. The service model offered by LaaS helps guar- antee energy savings and the financial savings that go along with reduced electricity consumption. Most importantly, because LaaS takes lighting off the balance sheet, companies can better allocate their money for other initiatives. Instead of putting up capital investment for a lighting upgrade at the beginning of a project, busi- nesses can turn the investment into an operating expense for the company through LaaS. With a portion of the money saved on reduced energy bills, companies can budget a monthly expense payment for their lighting while using the rest of the cash for something else.

Similarly, LaaS helps facility or plant manage- ment find more time to oversee other depart- ments and capital projects, knowing the lighting is well-managed and maintained. In addition, the service can have a built-in scheduled maintenance programme, if desired. While the LaaS market is in its infancy, it is see- ing increasing uptake among companies all over the world. According to UrbanVolt, US companies Bikeworld and Cargotec are saving 70%and 73%on energy costs respectively, thanks to LaaS.These are just two companies that have included the benefits of their LaaS agreements in their financial reporting. Despite the fact that the as-a-Service busi- ness model is ubiquitous in commercial buildings in the form of copy machines, and has unlocked big economic and carbon-saving opportunities in the solar-power and personal mobility sectors, it has not reached critical mass for building energy efficiency – yet. Global revenue for LaaS services is estimated at just $35.2 million this year, but it is forecast to grow 52%, to a total of $1.6 billion, in 2025.

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How to light your dining room

M uch like the kitchen, the dining room is a space where family and friends get together to entertain, eat, chat and share special memories. A room with so many applica- tions needs flexible lighting that can be functional and ambient, depending on a given use of the space. The ambience of the space is largely de- termined by the colour and light in the room. The experts at Eurolux offer their tips below. The table The table is usually the focal point in a dining room so make sure the light source is positioned to shine onto the middle of it. The type of table helps to determine what light to use in the space. An elongated fitting works above a long or rectangular table as it spreads light across the length, while a circular fitting will shine a circular rim of light onto a round or square table. If you do a lot of entertaining, suspend the light fitting so it hangs just above eye level when seated.

This lighting trick is often used in restaurants as it creates a social setting and makes it easier to see other people around the table. Rise and fall lights Rise and fall lights work well in a dining room, particularly if the dining table doubles as a desk or workspace.This versatile option can be dressed up or down to meet the needs of the space. Dimmable downlighters As with almost every other room in the home, dimmable downlighters work well in a dining room. For best effect, they should be positioned around the perimeter of the ceiling, 1.5 to 2 metres apart, to control the amount of light in the space. With downlighters, it’s easy to go from having a brightly lit space to a soft and subtle atmosphere. Spacing is key when it comes to downlighters. Equidistant spacing creates pockets of shadow so it is best to space them in between each other, for

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create a spread of light, which may be undesirable if you want an intimate look and feel in the space. This problem can be solved by adding a dimmer switch to control the light levels. Side tables Cabinets and sideboards can also be used as focal points in a dining room. It is best to illuminate these subtly by positioning wall lights on either side of the cabinet or sideboard and make it the obvious feature in the room. If the cabinet has glass doors, downlights within the cabinet will illuminate any beautiful crockery, ornaments, and glasses. Art The dining room is an ideal space to display art, which becomes a focal point when properly illumi- nated.Whether it's a sculpture, painting or striking ornament, be sure the object, and not the space around it, is illuminated. This eclipse of light will make the object a point of interest. www.eurolux.co.za

example, four lights in one row, three in the next and four in the last row.

Solid metal pendant A solid metal pendant does not diffuse light, so the ceiling remains dark. This modern look is ideal if you want a cosy, intimate space, but bear in mind that these fittings do tend to make the room look smaller. Uplighters counter this darkness, unless the room is very large. If so, they detract from the cosy look and feel. Pendant with glass diffuser Pendants with glass diffusers are ideal for small rooms, but they are not the best option if the table is to be the focal point in the space. Glass diffusers diffuse the light onto the ceiling, detracting from the table. Chandeliers Chandeliers, rather than tables, can be used as aesthetic focal points in dining rooms.They usually

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N ews

Established in 1995, Stream- light is a premium lighting solutions company that spe- cialises in lighting layout de- signs and supplies exclusive, quality lighting for corporate, residential and hospitality spaces. With its world-class showroom in the Design District in Kramerville – the company offers a sophisti- cated playground showcasing lighting brands and designers from all over the world. In the heart of the Stream- light showroom, visitors look forward into a fresh, urban and original lifestyle concept, DARK. The latest in design and lifestyle – the multi-la- belled, eclectic DARK takes visitors all over the world with brands such as Pig & Hen, Leff Amsterdam, Craft Cartel, Simon & Mary, and exclusive artwork by Regardt Van Der Meulen. Says Brad Kalish, prod- uct designer at Streamlight: “DARK gives South African creatives a space where they can showcase the latest in Af- rican and international street trends. We took our collec- tive knowledge of European trends and created a more cost-effective lighting range that is just as impressive as any Italian or Spanish design collection. We integrated international and local street brands to create the lifestyle concept store”. An extravagant and well- supported launch for the range was held in September at the company’s showroom. www.streamlight.co.za Streamlight introduces new multi-branded collection

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OPPLE headquarters provides an example of a comfortable office environment With the development of the economy and the improvement of standards, people's demands for a high quality office environ- ment are becoming more and more intense. For most people, office and home are the most frequented places, and the boundaries between them are blurred by the advent of SOHO and the emergence of office diversi- fication. But one thing has never changed; the pursuit of a more comfortable and humane lighting environment. A simple and bright office environ- ment, such as the OPPLE Headquarters in Shanghai, China, can make employees feel comfortable in office communication, thinking, convening meetings and other work, but also improves the efficiency of employees. The unity of different scenes in the office area spreads the overall image of the company to its visiting customers. Mod- ern office space is no longer just a place for employees to complete their work inde- pendently, but more as a communication centre. It is a place for communication and exchange of information among employees and customers.The smooth communication between them plays an important role in the completion of work. For the office environment, the full and reasonable use of natural light is conducive to creating a healthy and efficient office atmosphere. For deeper rooms, in order to balance the illuminance of the room with the illuminance near the windows, artificial lighting near windows can be reduced so that the illuminance of the whole room is consistent. Besides the balance between near- window illuminance and room illuminance, balancing the working surface illuminance and ceiling/wall illuminance is also impor- tant. Through the unique two-way light performance of the OPPLE Zenith panel, the illuminance level of the whole space is uniform and soft, meeting the illuminance standard as well as the additional require- ments of UGR<19 and RA>80. www.opple.co.za/en

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“We at BEKA Schréder wish to convey our sincer- est gratitude to our customers for their unwavering support as we celebrate our 40-year anniversary,” says BEKA Schréder General Manager, Wimpie Ludwick. “BEKA Schréder has been supplying high- performing, energy-efficient and high quality light- ing solutions since 1978. When our company was founded with just eight employees, we could not have foreseen our growth to evolve into a company with a staff exceeding 350 personnel.” BEKA Schréder (Pty) Ltd commenced opera- tions in 1978 in Namibia, a country with one of the most corrosive climates in the world.The first prod- ucts in manufacture were corrosion-resistant Glass Fibre Reinforced Polyester Poles and Public Lighting luminaires that continue to provide long-term solu- tions for hostile coastal and inland environments. Due to the products being successfully estab- lished in neighbouring South Africa, the decision was made in 1981 to relocate to Olifantsfontein, a strategically positioned industrial town situated between Johannesburg and Pretoria. In 1989, BEKA Schréder became South Africa’s first lighting company to be awarded ISO 9000 cer- 40 Years of BEKA Schréder

tification. “This commitment to quality became the company’s hallmark, enabling us to become Africa’s largest lighting manufacturer and market leader in exterior lighting. BEKA Schréder exports products into most African countries, as well as the Middle East, South East Asia, Europe and Australasia,” notes Ludwick. The company entered into a partnership with the Belgian company, Schréder, in 2002 – a multi- national lighting company that is present in about 35 countries. “In 2013, we became a wholly owned Schréder company allowing us to embrace the lat- est technologies, such as latest optical reflector and lens designs, giving us the edge in photometrical performance, as well as optimising light control technologies, for which Schréder is well renowned. We continue to innovate, design and deliver the highest quality products and the best global lighting innovations available on the market today. “We could not have achieved this without the support of our valued customers, together with the determination of every individual employed at BEKA Schréder as part of our team,” he says. Ludwick says that time does not stand still

and the company is continually evolving. “As a result, our image and branding need to remain relevant. We are, therefore, proud to announce the launch of our new logo and tagline as part of the ongoing evolution of our brand. In celebration of our 40-year anniversary, we will be looking back in time to remind us where we have come from, thus inspiring us to continue moving forward,” he concludes. www.beka-schreder.co.za

LEDs and OLEDs show 17.8% growth in Africa

to name a few, are looking to reduce their energy consumption and invest in the LED lighting market. As Africa's largest energy exhibition, The Energy Efficiency Show Africa creates a platform where leading solution providers can showcase a wide range of technologies aimed at helping transform and innovate the African energy sector. The con- ference will be held on 26-27 March 2019, at the Sandton Convention Centre. www.terrapinn.com

According to Future Market Insights, government support is increasing, and the introduction of new government projects for LED lighting is driving the growth of the lighting products market in Africa. It is also reported that the African LED and OLED displays and lighting products market was valued at US$ 684.9m in 2015 and is expected to register a compound annual growth of 17.8% from 2016 to 2026. Municipalities from across 40 African countries, such as Govan Mbeki Municipality, Em- fuleni Local Municipality and Harare Municipality

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Lighting showroom launches in Fourways In September, a new lighting show- room opened its doors in Fourways. Touchstone Lighting’s 380 m² showroom is located at Block 3, Cambridge Manor Office Park at the corner ofWitkoppen and Stone Haven Roads in Paulshof. “I’ve been involved in building

and developing properties for years, so I have been on the other side when it comes to the specifications of lighting, and I saw the frustra- tions,” saysWalter De Lima, owner of Touchstone Lighting. The company supplies decora- tive and other light fittings to archi- tects, interior designers and the public, and has secured exclusive rights for South Africa to market and sell a unique range of lighting. Touchstone Lighting has access to exclusive brands including Iris

Design Studio, Eduard Baquet and Aysan. The showroom features around 400 items on functional display, although the company has access to over 12 000 fittings.The range consists of local, imported and custom made light fittings suitable for residential and other applications. “The vision is to provide a one-stop showroom complete with service backup and design. The Touchstone Lighting showroom is open Monday to Friday from 8:30 am to 5 pm and on Saturdays between 9 am and 1 pm. www.touchstonelighting.co.za

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I nternational N ews

L A M P winners announced for 2018 International Lighting Design Competition

The first place student winner received a $500 Award & Professional Internship/Mentorship with ANDLIGHT, the emerging winner received the $1 000 Light Resource Award, and the established winner received the Inform Interiors $2,000 Grand Prize Award. Call for entries L AM P is preparing for its sixth annual international lighting design competition and is sending out a call for entries to designers worldwide to participate. The deadline to submit is January 31, 2019. L A M P aims to introduce a broader audience to lighting design while promoting and connect- ing emerging talents to new markets. Each year the competition challenges designers to approach their lighting fixtures with the guidance of a theme. The 2019 theme is TEXTURE. All submissions will be reviewed by some of the industry’s top profes- sionals, and the finalists from each category will be displayed at L A M P’s annual exhibition during IDS Vancouver's Offsite Programming. The three categories open for submissions include student, emerging and established design- ers. After reviewing all submissions, the esteemed panel of judges will make their decisions based on a set evaluation ranging from aesthetics, market- ability, innovation, and unique interpretation of the theme word. To enter, visit www.lampthecompetition.com

Celebrating its fifth annual lighting design compe- tition, L A M P (Lighting Architecture Movement Project) has announced its 2018 international light- ing design winners in Vancouver, Canada. “BALANCE was a clever subject and we were impressed by the diversity of lights,” said Ingo Maurer. “LED is certainly a big improvement in our daily technical life, but it is important not to miss the essence of light. Congratulations to the winners. Keep going and think of the light that pleases its core and our souls!” This year’s first-place winners and runners-up in each category are: Established First place : Mito by Tom Fereday and Rakumba Lighting from Melbourne, Australia Runner-up: Boom by Stickbulb/RUX Studios from NewYork City, USA Emerging First place: Highwire by Anony Studio fromToronto, ON, Canada Runner-up: Bolla by Giulia Liverani for OliveLab fromTurin, Italy Student First place: Driftwood by Nathan Sui from Missis- sauga, ON, Canada Runner-up: Arch by Noah Howells from Boone, North Carolina, USA

Established – First place: Mito by Tom Fereday and Rakumba Lighting from Melbourne, Australia

Emerging – First place: Highwire by Anony Studio fromToronto, ON, Canada

Student – First place: Driftwood by Nathan Sui from Mississauga, ON, Canada

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