Designed as a glazed dome, the 87 x 87-foot (26.5 x 26.5 meter) roof transitions seamlessly between square and round geometries from the base to the top. Responding to Malaysia’s tropical climate, it is shaded by a series of fins that are carefully angled to control solar radiation.

The roof appears to be solid at the lower levels, becoming more permeable as visitors rise through the store. The lowest fin spans outward to shield the glass façade and create a shaded walkway around the edge of the store. A central glazed oculus, with 30% ceramic frit, brings soft daylight into the interior and incorporates a dynamic lighting feature.

The store is laid out across three levels with a viewing deck at the top that directly connects with the edge of the park, bringing daylight and greenery into the store through the soaring interior. A sculptural quartz and glass staircase – and a bespoke glazed elevator – connect the various levels, with layered landings creating multiple lines of sight through the space.

The Forum is located on a floating deck and the avenue and display tables are on the lowest level with direct connections to the mall. The store includes a video wall and boardroom, as well as a dedicated Apple Pickup station.

Apple The Exchange TRX is designed with a refined palette of high-quality materials, including natural stone walls, polished stainless-steel columns, light Terrazzo floors and a timber ceiling.

Project credits: Fosters+partners

The black, trimless recessed profile of the CLIXX SLIM magnetic rail system is seamlessly integrated. This creates a minimalist effect in the sleek and modern interior. The CLIXX rail system runs through the entire extension, connecting the two spaces. In this project, spot modules (SPOT35) are used across the entire rail system, combined with linear DOT modules, to further enhance the luxurious interior lighting.

The CLIXX rail system offers flexibility and is fully customizable to suit both the space and lighting requirements. Whether you are aiming for focused or ambient lighting, the system allows you to illuminate the space exactly as desired.

The custom-made kitchen cabinets continue around the corner into a shelving unit in the living area. The spot modules are used as accent lighting to highlight accessories in the shelving unit, while the linear DOT modules provide excellent general lighting that enhances the atmosphere and appearance of the space.

The rail system follows the lines of the extension and seamlessly connects to the ceiling, visually deepening and extending the space when paired with the wooden horizontal slats.

The CLIXX SLIM LED modules are magnetically connected to the profiles, allowing them to be easily positioned, moved, and removed while the power is still on. This enables the option to add extra spot modules in the future to further accentuate the special features of the interior.

In the kitchen, there are two glass pivot doors that connect the historic building to the new extension. A large marble island serves as the eye-catcher of the kitchen. The CLIXX rail system runs from the living area into the kitchen, around the island. Special work lighting has been chosen above the island, allowing the CLIXX rail system to function as general lighting.

The CLIXX light modules can be controlled separately and grouped using the Smart Home Systems. By dividing the various lamps into groups, rooms can easily be controlled separately. This makes it possible to control the living room and kitchen separately from each other. Simply dim the lights by adjusting the brightness via an app and create the desired atmosphere. A separate dimmer is therefore unnecessary.

The CLIXX system offers endless configuration possibilities due to its wide range of profiles/tracks, connections, installation types, light modules, and control options. This makes the CLIXX magnetic rail lighting system an all-in-one solution for even the most demanding architects, interior designers, and lighting designers.

Lighting: Lightinova
Interior design: DUIN INTERIOR
Products: CLIXX SLIM magnetisch railsysteem

The installation was completed by electrical engineering specialist DEMONGEOT, project managed for them Thomas Marques-Faria, and the lighting programmers were Tom Marchandiau and Anthony Sauvet from APS & CO.

The project’s history dates to 2017 when the city of Dijon launched a competition to illuminate the Liberté pedestrian shopping street in the historic city centre. Parisian agency, Distylight won this from the artistic and heritage enhancement context, while Dijon-based practice, Godart + Roussel Architectes, were the public’s favourite.

A few years later, the Direction gestion connectée de l’espace public – GCEP – of Dijon invited tenders for a lighting trail in the city centre. Working together, Distylight and Godart + Roussel Architectes then formulated the lighting project “Les reflets de l’Or” proposing a complete illuminated walk linking five of the city’s key architectural landmarks.

Johan Sustrac explained how they pushed for the lighting trial to be more than just a trial. The idea was that this should be a permanent lighting scheme that was additionally available for civic events, however certain global events overtook the process, resulting in budgetary restrictions, and the scale was revised to initially light three monuments – the Palace of the Dukes and States of Burgundy, including the Philippe le Bon tower, the Saint-Michel church and the Porte Guillaume.

Pierre Roussel from the lighting project team noted that the suggestion of highlighting the Burgundy Stone in warm ochre and gold hues had appealed to Pierre Pribetich, the former Dijon urban planning deputy who wanted to see classy lighting linked to the local heritage.

This was achieved by mixing RGBW colours in warm white at around 2200 K. To evoke the golden reflections, Distylight’s Saffran Popille chose a custom colour mix. The shade we needed to make the stone pop out had to work with 2200 K, rather than be an amber LED so this is linked to the lighting’s chromatic spectrum.

Distylight founder Johan Sustrac elucidated how they researched and tested several options before making the final decision and choosing the best and most appropriate fixtures and suppliers.

“What we really liked about Anolis,” stated Johan, “was the quality of the colour mixing, and each time we asked the team from Robe France to add a little green or a touch of pink, they knew exactly how to do it, and obtained exactly the colour and detail we needed.”

Once the 97 x Anolis Calumma S and XS and 110 x Eminere Remote 1, 2, 3 and 4s were selected, they were positioned on and around the three monuments using a variable white mix between 2,200 K – 3,000 K plus a custom RGBCW mix created by Anolis specifically for this project.

This LD’s choice makes all the difference compared to how a classic RGB illumination of the stone might have looked!

One hundred and thirty Anolis fixtures in total are focussed on the Palace of the Dukes of Burgundy, plus two automatic projectors and 4 x 30,000 lumen video projectors for the three sides of the town hall. Eight gobo projectors are used on the Saint-Michel church to project occasional images and as kinetic illuminations on the facade.

Johan observed that the combination of lighting and video projection provided a perfect solution to cover the building elements exactly as they envisioned.

Pierre Roussel highlighted the role of Dijon city’s technical services team headed by Patrick Dubois, who gave much of their time and several weekends to ensure the installation ran smoothly and on time.

The city had already purchased a lighting console for the festive lighting for which they needed a specialist programmer, so Anthony Sauvet was sourced for this task thanks to APS & CO’s Tom Marchandiau’s extensive address book.

Tom explained that all the Anolis products were addressed in RDM mainly using a City Theatrical DMXcat to rename more than 200 fixtures enabling remote observation and control as the lighting console is tucked away in a closed room without windows!

The three illuminated buildings are connected to the lighting console by two Ethernet / DMX nodes: one for the Palace and the other near the Saint-Michel church. A fibre optic cable allows execution of Art-Net control commands quickly, over the approximately 500-metre distance.

The Anolis LED projectors are controlled with 4 x DMX parameters allowing independent control of the individual R, G, B and W pixels for each luminaire.

Despite the complexity of the systems implemented, the installation had to remain manageable for all those involved, including remotely so a screen interface was created via a Modulo Pi media server that simplified the system for intuitive day-to-day use by City of Dijon staff and managers.

Anolis’ Julien Thery also provided comprehensive on-site support throughout the project. The installation is active all year round, running with a signature look devised by Distylight based on the reflections of Gold.

The facades will illuminate and come to life between two and four times per hour for 5 minutes depending on the season in a subtle combination of soft video projection, golden waves and delicate movements programmed into the Anolis fixtures and architectural devices on the façade, flickering with a variation of whites and intensity.

The new lighting scheme was inaugurated by the mayor of Dijon, Nathalie Koenders, alongside the first vice-president of the Bourgogne-Franche-Comté region, Michel Neugnot.

Photo Credit: @lumidrone

Like their „big sisters“ in the system, the new sizes are not only available with colour temperatures 2700 K, 3000 K and 4000 K, but also with Colour Changer or Tunable White Technology, which further enhances the application possibilities…

Full range – even for the small sizes

The extension focuses on the low wattages for the sizes FLC201, FLC210 and FLC220. The round housings made of corrosion-resistant die-cast aluminium have external diameters of 75 mm, 150 mm and 190 mm, respectively, and promise a long service life thanks to the proven 5CE Superior Corrosion Protection System. CAD-optimised optics offer [B] Symmetric wide-beam, [M] medium beam, [E] narrow beam, [EE] very arrow-beam and [EES] very narrow-beam ‘sharp cut-off’ light distributions. The PMMA lenses developed and produced by WE-EF ensure high efficiency, uniform illumination and excellent glare control. The possibility to use internal optical accessories such as the IO-180 linear spread lens further expands the planning leeway.

Award-winning: the compact projectors

Like their “big sisters” in the system, the new sizes are not only available with colour temperatures 2700 K, 3000 K and 4000 K, but also with Colour Changer or Tunable White Technology, which further enhances the application possibilities. The projectors for the sharp cut-off projection of round or polygonal surfaces as well as gobos present a special feature. In addition, two new, more compact designs have been added in the form of the FLC220 and FLC210 projectors – these are interesting not only for outdoor use, but also for effective lighting scenarios in transitional or indoor areas such as atria, halls and foyers. The LED projectors are built on the principle of the optical bench and use a two- to four-stage lens system.

The quality of their design has already been confirmed by experts with the accolade “Winner” Design Plus powered by Light + Building 2020, which was awarded to the FLC210 model [GP]. It is a further success for the FLC200 series, which has previously won awards at renowned design competitions such as Focus Open, German Design Award and iF Design Award.

Netscout, a digital and smart data company, moved into new offices in Allen, Texas, with a look and feel that reflects its connected culture. The three-story 145,000 square foot space presents Netscout’s re-energised brand and an employee-centric design. Connectivity is the watchword here, with a focus on spaces that encourage teamwork, consultation, and brainstorming to drive the company’s innovation. Statement lighting fixtures from Eureka Lighting characterise these areas.

Eureka’s award-winning Sail luminaire was selected for the break rooms on each floor. An elegant fixture constructed of ultra-thin folded metal with a white powder-coated finish, it is suspended in groups of three over counter-style conference tables. Sail’s ultra-thin state-of-the-art OLED module enables innovative design that invokes a sense of weightlessness. Its light source creates a natural and glare-free illumination for employees working or chatting at the counter top below.

“Sail is a very artistic and structural fixture,” said Jill Ibison, interior design project manager and vice president at Corgan. “It is a beautiful accent to the exposed ceilings and techy features that highlight the break rooms.”

A common area referred to as the “front porches” features several Mute fixtures, also from Eureka Lighting. Mute is a sound-absorbing pendant with a soft LED downlight surrounded by 12 felt-like acoustic panels. The charcoal panels are made from recycled PET bottles and are recyclable.

Mute features a reflector and frosted acrylic lens that offers superior light uniformity and output down to the meeting tables and casual seating below.

The front porches are adjacent to open-office employee workstations, so the acoustics were a concern.

Mute is ideal for reducing reverberated noise and controlling the echo of background sounds amplified by exposed ceilings, large windows and the sheer expanse of the space. The luminaire’s shape is carefully designed to expose as much absorption surface as possible. It also has the ability to trap sound between the reflective ceiling and the sound absorbing material of the fixture itself. The overall effect is improved acoustics and enhanced workplace wellbeing.

“Mute is a great large-scale fixture that provides additional acoustic value to the space,” Ibison said.

Exposed ceilings make a statement in Netscout’s hallways, and 288 Voxel pendant fixtures illuminate the airy corridors on each floor. The fixture’s clean, minimalist shape incorporates design features that ensure incredible LED performance in the small high output projector. An integrated heat sink facilitates effective thermal management, and a ventilated housing top ensures the heat sink works at full power to optimise LED lifetime.

“Voxel was a perfect pairing to the industrial space,” said Ibison. “It’s a petite fixture that does not distract from the architecture around it. And it has good lumen delivery with low wattage.”

Lighting efficiency was vital for the project. Corgan is committed to sustainable design, so using LED and OLED luminaires from Eureka Lighting enabled lighting goals to be achieved. Luminaire choices will help save energy, reduce glare, and make the office more comfortable for Netscout employees.

The overall objective of the media installation is to enhance the passenger experience and bring back the romance and magic of travel. The adventure begins the moment passengers step into the New TBIT, harking back to a time when travel was exotic, whether flying to foreign shores or arriving in L.A. The latest in multimedia entertainment meets the essential functionality of the airport, turning the terminal into a spectacular, welcoming place to spend time: passengers can simply look around them to indulge in lively vignettes of old Hollywood, calming images of far-off destinations and visuals that lead the imagination to dream big and discover new lands.

Creative collaboration for a massive transformation

A project on such a scale requires massive collaboration: the seven iconic media features were designed by Sardi Design and MRA International; Fentress Architects designed the terminal and supported the media intervention and execution of the project; Smart Monkeys Inc. was the system designer and engineer; Electrosonics integrated the whole system; and Moment Factory was the executive content producer.

With its expertise in architectural media installations, immersive interactive installations and stage productions around the world, alongside a keen sensitivity to the visitor experience, Moment Factory’s team took into account the modern architectural features and multi-story dimensions of the airport terminal to conceptualise and produce media content that strikes an optimal balance between soothing beauty and engaging entertainment. Among many production feats, Moment Factory sent film crews to three continents and worked creatively with dancers, actors and even parrots, turning the studio into a virtual tropical paradise. Over 12 months of work by the firm’s multi-disciplinary team went into building the multimedia ecosystem, visualising each animation via physical maquettes as well as 3D computer models, and adjusting all components to achieve seamless, engaging works of multimedia art and design.

Seven architecturally scaled media features

1. The Time Tower, a 72-foot, four-sided functional clock tower built around the main elevators, completely clad with screens that come alive with everything from an animal-packed jungle to an original tribute to the silent- film era. The Time Tower also includes an interactive surface that reacts to the gestures of passengers by triggering customised, real-time visual effects.
2. The North and South Concourse Portals, two features comprised of 10 interactive 28-foot-tall columns of visuals and sound effects that continually change to reflect departing flights and the movement of passengers as they walk by. The Portals, with content evoking mosaic tiles, watery reflections, totem-like pillars and stringed instruments, suggest transformation and the movement
3. And wonder of travel. Their content’s themes are inspired by LAX destinations such as Tokyo, Paris, Sydney and beyond.
4. The Welcome Wall, an 80-foot-tall LED display of refreshing, lively images that greet passengers as they arrive in Los Angeles.
5. The Bon Voyage Wall, a feature designed for departing passengers, presents an array of slow-motion filmic images of people and places in Los Angeles, inspired by photographer Phillipe Halsman’s Jumpology series.
6. The Story Board, a 120-foot composition of multiple LED screens, displays visual narratives of Los Angeles, destination cities and the far corners of the Earth.
7. The Destination Board, a generative video “data cloud” displaying flight information & visual data on destination cities.

Facts & figures

 Moment Factory created over 4 hours of original video content (Over 30 original-content multimedia productions, 3-9 minutes in length).
 The team also produced generative and interactive content: 16 cities come to life on the portals, with generative visuals and audio effects based on passengers’ movements and flights’ departure schedule; an interactive activation was produced for each of the 26 capsules on the Time Tower with real-time clocks and interactive touch effects at the base.  The Time Tower is the world’s largest interactive feature with an interactive base that triggers content across 6,480 square feet of LED surfaces.
 The total output of the IEMS is more than 105 million pixels (8 times an Imax theatre): That’s 19,075 square feet of video, enough to cover the length of the 81-storey Eiffel Tower with a 6-metre wide display.
 Moment Factory’s X-Agora software powers interactivity and generates dynamic real-time multimedia effects – 8 X-Agora servers and 20 X-Agora players run the interactive components of the IEMS.
 Production techniques: Documentary filming, time-lapse, ultra-high-speed filming in laboratory-like conditions, live- action shoots with actors and elaborate sets, on-location filming, pure 3D productions, 3D composited with live action, interactive real-time 3D and video effects, and more.
 More than 300 people contributed their skills, including Moment Factory’s core team of over 60 multimedia artists, project managers and programmers.
 Over 12 months of full-time work on conceptualisation, design, production, post-production and a rigorous review and approval process, which called for presentations to LAX management and executives, the airport’s CEO, the Board of Airport Commissioners and the Mayor.

About Moment Factory

Moment Factory is a new media and entertainment studio specialising in the conception and production of multimedia environments combining video, lighting, architecture, sound and special effects to create remarkable experiences. With over 300 achievements since its inception in 2001, Moment Factory has developed a unique methodology in the production of multimedia experiences. Productions span the globe and include such clients as Cirque du Soleil, Disney, Madonna, JayZ, Sony Pictures, Microsoft, Euronews, the Atlantic City Alliance, the City of Barcelona, and the NFL.

Credits – Client: Los Angeles World Airports (LAWA)
Project Director: MRA International
Feature designer / Creative Producer: Sardi Design
Architect: Fentress Architects Systems
Designer: Smart Monkeys
Executive Content Producer: Moment Factory
Content Producer: Digital Kitchen
Systems Engineer: Electrosonic
Photo credit: Moment Factory

The house was being designed by Smitha Zacharia of Zachariah x Piers, for a young couple who are very well travelled and were open to experimenting with materials and colours. They wanted to keep the space Indian in its look and feel. Hence, we decided to use brass as a base material combining it with wood, glass, and fabric as per the requirement. We chose Indian patterns and motifs as the elements on upholstery, carpets, and wallpapers.

What kinds of lights have you used?

Most of the lights used are made of traditional materials but contemporary designs. We used chandeliers, drop lights and custom made floor lamps for the space.

What were the things kept in mind while designing this house?

The house was being used by three generations and hence had to do justice to each of their individual tastes and utility. The parents wanted their spaces to be simple, well-lit. Hence the focus was given layering of lights which could be used depending on the function of the space.

We ensured we provided ample light in the bathrooms and also planned to keep the bedsides clear of table lamps to avoid clutter. We added a dove neck reading lamp in addition to the drop lights for extra reading light.

While choosing the lights the architect was very clear that she did not want a single element in the room to grab all the attention, rather her focus was to bring all the elements together harmoniously.

What kind of ambient does the lighting provide?

Fortunately, everyone in the family was okay with using warm light in the entire space. It’s sometimes a challenge when clients ask us to design lighting schemes with multiple colour temperatures as per each one’s preference. Having passed the first challenge we decided that we will divide the space into entertainment and functional space. All entertainment and common spaces were lit with COB LED lights of 2700k colour temp and all the functional spaces like the study, bedrooms and wet kitchen, utility areas were worked with 3000k panel lights to avoid shadows in the space.  We also gave the option to create multiple lighting schemes using drop lights, table, and floor lamps.  Since the apartment is on two levels we carefully worked our way into dividing the space such that it was easy for one to transition from one zone to another without feeling the difference in the lighting scheme.

With QLITE on board, this was achieved using specialised digital RGB control system showcasing various patterns of colour changing lights with movement, creating powerful visual effects. To achieve the concept and achieve seamless operation that would distinguish it from other hotels in the area and attract potential customers, complete lighting as well as digital RGB control system was supplied, as well as, installed and programmed by QLITE to avoid any issues of interfacing or workmanship at all stages of the project.

For this prestigious hotel project, system consisted of QLITE RGB LED strip lights and digital RGB controllers were installed and interconnected at calculated distances on the grid-like structure in front of hotel facade. Synchronised, time-based program with customised patterns as per requirement was uploaded on controllers followed by fine-tuning with music to achieve the specified requirement and required ambience.

If you want to share thoughts or feedback then please leave a comment below.

Working on projects in India I have come across some of my toughest challenges budget-wise, but at the same time I have found Indian clients some of the most reasonable, approachable and intelligent that I have encountered globally when it comes to discussing key design budget elements of a project and find that they are accessible to being educated with regards to areas of no compromise and establishing a value to the design decisions.

I feel that both clients and architects are more confused than ever with the array of LED lighting products on offer, from very high end US and European products to dubious quality products from Asia and everything in between (disclaimer: the author knows of quality products from Asia and by no means believes that every product manufactured in Asia is dubious). When do we use which product with honesty and fairness to both client and projects?

Dramatic effect in nature. Arches National Park, Utah USA
Image- Per Fasmer

We have to be courageous and have integrity as lighting designers for there are some battles that we cannot lose. When lighting facades or exterior projects we have to control the junction temperature of the LED diodes or we will have swift failure, especially in low or high extreme ambient temperatures; failure to do so will result in product failures and a façade that resembles a mouth full of gapped teeth.

This is definitely an area where clients need protecting from themselves and where I feel as designers we should undertake any value engineering services ourselves so that we make informed design decisions that are best for the client in the long term. I understand the need to save money, this is very much the case in The Middle East market currently as oil revenue falls and likewise project budgets, but design crucial decisions must be taken by people qualified to make the technical and budget decisions required.

All this said, whether we are on tight budgets or not we have a duty as designers to deliver both technical and artistic excellence and that is where I would like to concentrate this article as an inspiration to us all.

So let’s explore some little known yet creative projects, both internally and externally, that touch and inspire and at the same time do not break the bank.

Just outside Bergen in Norway an aluminium factory wanted to make a statement with a light art piece that highlighted their capabilities as aluminium suppliers and fabricators.

An aluminium framework was erected and a sail fabric inner stretched within the frame, the effect is amazing for the cost of a few RGB colour changing floodlights. I am sure that you will agree that this iconic artwork is a welcome addition to the local nightscape.

Artic Cathedral Tromso illuminated in the colours of the French flag
Image- David Lambert

It is obvious but worth pointing out on this Norwegian project that high quality luminaires are essential as we are dealing with ambient temperatures of minus thirty degree Celsius and often extreme weather conditions.

As lighting and in today’s world visual designer’s we should look for inspiration around every corner. Nature is a huge inspiration for me as is art and light art, combine the two as on this rock arch in Utah and we have motivation and the duty to look at buildings as simply and as sculpturally as this installation.

Artic Cathedral Tromso illuminated in the colours of the French flag
Image- David Lambert

When lighting building façades, we have several factors to consider, how the building looks from afar, LED engines that are space enabled so that they can act as a security guard in museums and galleries ready to activate screens and protection if the clients get too close to expensive exhibits or that can transmit commentary direct to mobile devices with information of the artworks themselves.

Lazarides Gallery
Image- Lazarides

It is our responsibility as designers to stay up to date with available technology and its appropriate usage, but at the same time to realise that the days of sticking a light under every tree are gone.

We do not have to limit our creative ideas to the outside of buildings as there is plenty of scope for creativity within the internal space. Hospitality projects, retail projects and nowadays even commercial and residential projects, especially in communal spaces, are more dramatic or atmospheric giving free reign to the imagination.

Window display Harvey Nicholls, London.
Image- David Gilbey

It is a given the sense of drama within museum and gallery spaces, coming from the theatre this has given me immense professional enjoyment and satisfaction working on such projects, seeing such theatre creep into retail and hospitality projects is a joy. Department store windows displays are becoming an art form in themselves and sometimes invitations to fantasy worlds.

The diminishing size of the light source enabled by LED technology allows us to seamlessly incorporate lighting into the architecture or to make lighting a statement piece within the architecture.

Drama aplenty at The Paramount Hotel Riyadh
Image- UMAYA Lighting

The large LED feature light inside Snohetta’s Olso Opera House reads as a moonlight figure within the space and is both moody and evocative.

The Paramount Hotel in Riyadh Kingdom of Saudi Arabia is somewhat surprising for such a conservative market, but it highlights the demand of an assortment of hotel styles and formats globally. This funky, modern boutique style has theatre aplenty with a vertical media screen, film set like lights, illuminated slots and the sand dune feature lighting.

The individual bedrooms at The Paramount reflect the style of this boutique hotel and serve as an example of how rooms can be both comfortable and exciting at the same time.

At the entrance lobby of The Rotunda Building in Birmingham, UK. The custom LEDs incorporated in aluminium poles provide a marvelous sculptural element that delineates the space and accentuates the high ceiling within the lobby. A relatively inexpensive idea that makes a real architectural impact.

This article deliberately uses very strong visual images and is designed to be both inspiring and thought provoking. We have the technology these days to be unendingly creative but we have an extra responsibility to harness our creativity so that we respect the neighborhood and neighboring buildings, we must respect our clients budgets but at the same time we must employ our ideas to get the very best value for money and most importantly we must balance the artistry and the technical.

Great design and responsible, whole project and strategic thinking will allow us to conform to every green building code and energy initiative and at the same time deliver beauty for the world to admire.

David Gilbey
Associate Lighting Designer
UMAYA Lighting Design

If you want to share thoughts or feedback then please leave a comment below.

The renowned building is set within a sensitive conservation area adjacent to a number of listed buildings. Owned by technical and business services organisation Lloyd’s Register, it was purpose designed by Richard Rogers Partnership (now Rogers Stirk Harbour + Partners) and completed in 2000. From the street the entrance is through an archway set into the façade. Warm uplighting to the arch improves the visibility of the entrance and frames the silhouette of a mature tree to provide an enticing view to the building beyond. Within the courtyard light and darkness are carefully balanced to create a sense of place.

Uplighting of the stone perimeter wall enhances the feeling of enclosure and privacy, with the softly uplit foliage creating an illuminated canopy overhead. Warm white light is used throughout in contrast to the cool white interior glow from the offices. Lighting is neatly integrated into benches and stairs, leading visitors through to the reception lobby.
The interior lighting concept was developed to improve both the arrival experience and first impressions, while responding to the volume, rhythm and geometry of the architecture.

For the general lighting of the reception atrium, Speirs + Major recommended a new suspended element. All parties agreed that though introducing such a prominent feature into an architecturally significant building required careful consideration it would bring a welcome sense of human scale and add character to the space.

Further layers of lighting provide highlights to selected features. The wall behind the reception desk has been uplit to form a backdrop, and an array of custom designed suspended direct/indirect lighting systems draws attention to the vaulted ceilings, replacing the redundant original services arrangements. The scheme is finished off with a pair of floor lamps placed within the single height seating zones, to evoke a more domestic ambience.

The design process for developing the bespoke pendants was necessarily rigorous. It was crucial that the form be complementary to the architecture, sitting comfortably and harmoniously within the space. To begin, Speirs+ Major studied the grids inherent in the building geometry. From this the preferred spatial nodes were identified, from which the square-ended form of the pendants were extruded by 3.2m – in alignment with the height of a single floor. A blue finish to the interior makes subtle reference to the maritime heritage of Lloyd’s Register.

The space between the forms was considered as important as the forms themselves, and perfect alignment in the X, Y and Z-axes was critical. Developed in collaboration with manufacturer Mike Stoane Lighting, numerous tests were carried out and a full-scale mock-up was conducted on site to assess the lighting effect and the scale of the pendants, while resolving a myriad of technical issues.

The final solution sees the pendants elegantly suspended from a primary frame that can be raised and lowered by motorised winches for maintenance. The lit effect on the floor can be varied from a strong grid to a softly dappled pattern, bringing out the natural grain and warm colour of the new wooden flooring in contrast to the cool crispness of the original architecture.

Two further products were developed for the lighting of the vaulted ceilings. Working with the existing chilled beam luminaires, a bespoke LED cassette was developed to replace the existing fluorescent light source. A complimentary suspended direct/indirect luminaire provides the lighting where there is no chilled beam, achieving an improved and consistent quality of light across all the vaults.

Source: www.speirsandmajor.com